Each season has had its difficulties in producing them - and let me just say that I am really proud of the episodes in the second half of season three. I think they're super funny. There is a story to why I think they're a little inconsistent in production:
For season two, we wrote all 20 episodes before we started shooting, and we shot them all out of sequence. I think the christmas episode with Zach was one of the first ones we shot, and I know the Halloween ep with Pee-wee was in our second week. So we really got to figure out an order after the fact that made sense.
For season three, we had an earlier premiere date, but we started at the same time. So, even though we still wrote everyth...
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I was told later that Stephen was uncomfortable but I didn't mean to. The conversation just flowed to British children's entertainers being largely pedophiles and I don't know why Stephen Merchant was tiptoeing around it.
I tend to assume vodka and I know it seems unlikely that Rick wouldn't use sci-fi tech to somehow augment whatever he drinks but I think in rick's mind part of the "addiction" to the flask of good old fashioned booze is that it anchors his identity, and I think he knows that if he augmented the booze or the flask, then why not just whip up a very rudimentary nanobiotic alcohol dispenser in his body or inject himself with a plasma component that just amounts to always having a certain blood alcohol level, and I think the reason he doesn't do that is because he's a little afraid he'll lose sight of who he is
Wow. There are so many Chris Farley stories to tell. I try not to overdo it, because they are very personal, but they are so funny, people should hear them. I just told one on Howard Stern this morning that was ridiculous. But I will say here's one: Me, Him and Adam Sandler were walking to dinner, during SNL, and this cute girl was getting in a cab, and we commented how pretty she was, so Chris ran over and climbed in the cab with her, and said "hey, you goin' downtown? Let's share a cab!" and she started yelling at him and kicking him. And he finally came back, and we said "Chris, if they don't know who you are, you are just a crazy fat guy trying to climb in a cab with them."
And then we ...
Sorry no actual update. I've heard for years there's a movie being developed, but never from anyone actually connected with it. Personally I love the movies, that character, and all the people involved. It's some of the most fun I've had, and most the most widely received movie I've been a part of. Not sure Mike is really looking to make a new one, but I'm sure if he did, everyone would show up for it.
I still say "hey" to greet a lot of people like we did on the show, and I still will do thumbs up, like Kramer did. And I still say hello to people the way I said, "Hello Newman."
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...
Q: Would you agree that this is the best time to be a nerd as the nerds are rising up while the jocks and bullies are pumping our gas?
A: i think nerds are on their way to greatness. im SUCH a nerd myself. #hollywoodhandbookref
When you do a movie, and you use a song, or a band, or an image on a t-shirt of a band, there's a quiet clause stating that you can't say anything negative about them. And it's sort of just understood if they're selling you a song, or letting you use a t-shirt, you're going to be respectful. So that line was not in the script, but I asked Kid Rock to yell it to me when I ran off, so I could make an extra whimper, like that was a real dagger. And so when we did it, we couldn't put it in the movie yet until I talked to Def Leppard's manager to make sure that was okay. So I called someone, cuz we originally couldn't put it in, and said "hey, is there any way we can do this" and i had to explain...
And how was it making out with Natalie? I mean... when you have a kissing scene in a film it's not something you think about as a kissing thing. You have all these crew around. But she's a lovely kisser, very polite.
But here's a little-known fact: there's one person in the world that both Ashton and I have kissed, and that's Natalie Portman.
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.
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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."
Question: How on earth were you able to gain the incredible amount of authorial control that you have over Louie? Have you had to battle with FX over any particular jokes/concepts/creative choices?
Answer: I got it by demanding it and refusing to do the show any other way at all and by having the leverage that I was completely willing to walk away without doing the show and by agreeing to an extremely low budget so that they could offset the risk of giving me this freedom becuase they are risking less money.
I have had conversations with them about very few moments in the show but zero battles.
i liked asking the Jesus Camp Counselor if he thought i was going to hell. He said no, but his eyes said "yes."
I was credited as a STORY EDITOR but that's more of a title than an actual job description. I was in the writers' room pitching jokes and ideas for scripts. I got to work with some real-deal TV veteran writer geniuses who I learned a lot from. Oh! And in season 4 when Jeff Garlin sneaks through a second-story window, the group of people watching him from afar are all the writers in the writers room. THAT IS THE ONLY EASTER EGG THAT'S EVER EXISTED ON ARRESTED DEVELOPMENT.
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.
Question: You come from a very affluent family – are you a reformed “rich dick” or are those characters informed by people you went to school with? Or both? Or neither?
Answer: All of my characters are informed by who I am and people that I've come into contact with, as well as everyone else involved in making the show - like in the case of Rich Dicks, John Daly and people that he knew.
Her name was Tracy and I accidentally named Traci Reardon the same name - I came into the studio planning to name Traci Reardon Brittney Reardon and I just told Scott my name was Traci on accident! I did the original "tracy" again but changed her name to Amanda Calzone. You can hear her on the first Betsy Sodaro ep of WSGLL.
It's been a priceless experience with the people I've met in the writer's room, and that I learned how to write a script. It's just great to finally have something where I can actually write the lines. As you work your way up, you think to yourself (or lie to yourself) that you could write it better. And now I get to do that. It's been great.
The pros and cons of live action and animation are pretty much what you'd expect: in live action, you can shoot the same scene from a thousand angles for a thousand takes and figure out how to assemble the scene in "post," but if you realize that a character should have been looking a different direction or wearing a different kind of hat, you're either CGing their eyeballs or you're screwed. In animation, you can make eyeballs and hats change until the cows come home, but on the other hand, your script has to be darn near finished before the first actor even records their first line. The funny thing to me is that in live action, you can type "a room full of people" and nobody will have a he...
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