The audition process for Drake and Josh was very extensive. Three auditions and a screen test. I KID! I auditioned at the Nickelodeon Studios and like every actor's first onscreen role, I shared a scene with a watermelon lamp that my character built for a science fair.
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I still got a bunch of money, just not as much as I would have gotten. I sort of knew a foul wind was a-blowing. We hadn't really been getting along.
There's a term for that that i learned in college - it became a term in college - for anybody who could get behind a professor, and make the strangest faces AT him without being seen BY him while he's talking to another student, and seeing if you could break up another student without getting caught.
It was "harshing."
And that's what i was doing on WEEKEND UPDATE, later, when they first did an editorial I believe, I would just back off a little bit and just start harshing her! Jane wouldn't be able to see it, she knew I was doing it, but she wouldn't let on. And she tried to catch me. And I would always wipe back to a straight face.
The Joe Dirt wig was itchy. And one time, I walked away from the set at a TV studio when we were doing some Dennis Miller stuff, and I got lost, and I had my janitor's uniform on, and the security guard wouldn't let me back into where I was supposed to go, and I didn't have a cell phone, so I had to sit there for 15 minutes until some PA came to look for me, and I had to explain to them that I was dressed as a janitor with a wig on, and that was an actual story, that sounds fake but it was funny to me. Long story short: I loved the wig, I thought it was hilarious, it was hard to wear all summer but it cracks me up. I think it's in some vault somewhere in the Smithsonian right now, surrounded...
You may find out about my experiences on There Will Be Blood via my hilarious standup special LABORING UNDER DELUSIONS or Matt Gourley's amazing podcast I WAS THERE TOO.
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I wasn't the class clown. I was a student who liked school and did a lot of activities, and I kind of floated around. I wasn't very shy, but I didn't really think I would be a performer, and didn't know anyone who was an actor or writer. I was a very kind of typical kid who liked to work hard and have a good time. But I don't think you would've necessarily pointed to me and said "Darn right."
Ever hurt myself? When I was younger, like 13, 14, I was always skateboarding, and I would get hurt all the time. I had a ramp in my backyard that I would fall down from a lot. And a skatepark opened near us, and one night my brother took us, bought us 2 hours of skating, I went to the big pool and tried to learn aerials, and I got hung up and fell backwards, and broke both wrists, and every told me to get out of the pool so they could skate. Then the skatepark owner made my brother take me to the hospital to get X-rayed, and he was so mad, he screamed at me the whole way, because he couldn't skate his 2 hours. So my stepdad was a doctor, and he saw on the X-rays that both my wrists were cra...
I farted when I was born and everyone lost it.
The real moment would probably be my first play. I was in 5th grade and those laughs felt so goooood, baby.
I loved Diner, Fast Times, Richard Pryor Live in Concert, Being There, Monty Python movies, The Jerk, all the SNL spin off movies and of course Harold and Maude. Say Anything. Beverly Hills Cop.
Ooof, still figuring the mom stuff out! The weird part is, when you grow up with something odd you just think everyone else has it the same way. Around 12 or 13 I realized something was wrong and spent less and less time at home. By the time I was 30 I got my ass into therapy and really figured it out. And yes, separating from her was a huge help. I recommend everyone get their ass into therapy if they feel something is off. It saved my life.
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Technically the debacle started before season 4 because one of the primary things I had intended to do was have Jeff Winger reunite with his Dad in season 3. The beginning of my firing, I think, was when I got a call from one of the compulsively unenjoyable personalities at NBC who just wanted to let me know that he had just had lunch with someone "very, very high up" [by the way, this is the kind of shit I will not miss about network television, why are you WITHHOLDING THE NAME of someone you're about to give me a note from] that was "concerned" because they had recently seen a little bit of Community and it had been Joel McHale attacking the study room table with an axe and so this anonymo...
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.
Hannibal and I have very different approaches. I write stuff beforehand; he drifts in and out of consciousness.
I had actually pitched Nathan for You to Comedy Central before I started working on Jon Benjamin Has a Van. It was inspired by segments I did for a Canadian series called "This Hour Has 22 Minutes" where I'd interact with real people in an interview setting. I first began doing these segments in 2007. But it's always interesting to watch different approaches to dealing with real people, and it was very educational to work with Jon and see how he operated. You Can't Shoot Here is one of my all time favorite comedy bits.
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