Oh man there were so many. I actually had butterflies in my stomach during a lot of those dates. Rachel, who doesn't like wearing socks, was tough to get a read on. But a fascinating person. LA, the lady who was trying to promote her album, was also a delight. Lais, who tried to kiss me.. that was a really intense one for me. It was very surreal how seriously competitive the women were getting. Actually, a fight broke out (verbal, not physical) between two of the women over how much time they were getting with me. We ended up cutting it from the episode because it felt a bit too much like a moment you'd actually see in The Bachelor, but it was a very crazy moment and a very surreal night.
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The worst date I've ever been on was with a guy who I was super excited about, really attracted to, and then on the date it became apparent that it WASNT a date. He was just a straight dude who was psyched to have dinner with me in a platonic way. He talked about an actress he really wanted to date and we split the check. Thus is dating in Los Angeles.
During my first year, I had a crush on a brainy, raven-haired boy from my dorm ... he would ask me at least once a day if I had ever seen the movie Full Metal Jacket and I would remind him that I had not ... After several weeks of mistaking this for flirtation, I tried to kiss him one night by the Monroe Hill dorms and he literally ran away. Not figuratively. Literally.
The Brooklyn botanical gardens - we slow-dance, sipping prosecco under the stars.
just kidding. no date, please just come over! I'm already kind of drunk.
So cool people talking about this kind of stuff and having all the conversations about race, etc. since the show premiered. As far as Rachel (and other love interests too), we didn't set out to cast someone white and auditioned people of all ethnic backgrounds, and wanted to cast the person I seemed to have the best chemistry with to sell this huge relationship arc. In the end, Noel blew us away. And, for the writing, I'm pulling a lot from my own real current relationship, which is with a "white" person - so we can do interesting scenes like the scene in 109 (Mornings) about the parents (which many South East Asians have told me really resonated with them and they'd never seen an interracia...
I think comedians dating other comedians is great. But not if one is a hack and one is good. Or if they have a kid who's a hack.
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My favorite part of working on Community was getting to work with Chris McKenna, and learning from him (and from Neil Goldman and Garrett Donovan) how to start transitioning from sealed-off, alienated writer guy into connected collaborator guy. Talking to other writers about how to tell a story the best way possible, sharing personal experiences and mining them for premises, and just generally being holed up in a room somewhere on a movie lot with a bunch of smart, funny people working together to try to make a perfect show, I always miss that feeling and it changed my life.
the poker scene in season 1 was very written but then i let the guys go off and fuck around. i used some of that. I don't generally let people improvise though. That works for shows where you have two cameras that are just sort of following the action. i shoot my show like a movie and it would be all fucked up if folks just said things.
The pin really did slip from my fingers and catch on my sweater. That was not something that was planned. But what we didn't show in the episode is that I had a second backup pin taped behind my ear with a band aid (skin color so you couldn't really see it). In practicing, the pin was really easy to drop, so I wanted a backup. If the pin hit the ground, I would have gone for my backup pin.
We had a writer's summit where for 2 weeks we had Weird Al, Emo Phillips, Maja Da Oust, Jason Louv, Johnny Pemberton, Brendon Walsh (Gawd I hope i'm not forgetting someone), come up with ways the world could end. Then we broke the apocalypses we liked best into beats and "hung" the podcast dialogue on that framework. It was REALLY challenging because too much animated plot distracts from the conversation but if a GIANT ZOMBIE is eating the white house you can't just keep talking about weed so we had to figure out ways to pin the dialogue to the animation using VO we recorded after we had pieced together the animatics enough to know where it needed it.
It's a reference to the utterly haphazard nature of old variety shows. You'd do a sketch and then cut to a musical number with zero segue. So... basically Family Guy.
I had very strong opinions about Andy's wardrobe! I felt it needed to be a combination of Northeastern, yacht-club preppy and Southern District Attorney showing up for the Kentucky Derby. I loved Michael Scott's description in one episode where he said Andy "dresses like an Easter egg."
Well, I always felt especially bad that Charlie was disappointed by the show because he uprooted from LA and was definitely expected the show to be innovative and groundbreaking. Now, lots of people think it was, and if you check it out, there are plenty of sketches like Grandma the Clown, First Ladies as Dogs, Waiters Who Get Nauseated by Food, The Stupid Pranksters, and, yeah, the first Ace and Gary cartoon, and I'd say those and others were smart and original. We also had a legendary star performer who did amazing impressions and had beloved characters. So writing to the star's strengths, which included writing for his Regis, Perot etc. was always going to be an important ingredient. I ki...
producing the music is maybe my favorite part of the whole thing. I go into a studio with Matt Kelmer and a handful of great musicians that work under the title "Sweet pro" and we just fuck around. I get to cheat and make music without the training. I ask them for different moods and sounds and they try it. or we'll say let's go with cello and piano for a while and try a few things there. The cello player, wish i fucking knew his name, is tremendous. he creates whole pieces by himself and I use them ALL.
First of all, I never even spoke to him about it. We auditioned a number of people to play George - hadn't really found anyone. And then this tape was sent in from New York. And Jerry and I watched the tape, and it was Jason auditioning in New York with a casting director - reading with a casting director, just sitting on a stool.
I heard ten seconds, and I went, oh, boy, there he is. This guy - this is the guy. And I never had to say one word to him about the character or anything like that. He just had it right from the beginning. He was great. What a fantastic actor - gave me so many laughs watching him do that.
Being on Curb was the most fun I've ever had other than watching my twin boys clown around for me. It was like comedy fantasy camp. Larry David is another mega-hero for me. I auditioned and got cast as Yari, the vaguely foreign softball coach/mechanic. But I didn't know until I showed up for the shoot that they wanted me to do a speech to the team. So I asked Larry Charles, the director, if it's okay to curse. And he gave me the answer I wanted to hear. So I had about ten minutes to write a couple of things down that made me laugh. Then we shot it and Larry didn't know what was coming. I've heard he's an easy laugher but still, seeing him crack up felt like alley-ooping to Michael Jordan. I'...
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