I wanted to do an episodic, non-serialized show. There's no real interest in that kind of storytelling on the Netflixes out there - they like continuing stories you can binge-watch. So the network made sense.
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It was very taxing, because we didn't get to move around a lot, and we would work 15, 16 hours a day sometimes, and right into early Sunday morning. So it was not easy work. I can tell ya. It's tough to cover 8 people around a table without moving the camera, moving the camera, moving the lights, it takes FOREVER, and you have to do it over, and over, and make it look fresh, so if people realized that - it can be very taxing and very tough work.
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.
Really fun, and kind of surreal. I remember Garry Shandling coming up to me after we filmed a take. He had a note for me, but made a point of saying "only do this if you think it's funny." I was impressed by that.
Hannibal and I have very different approaches. I write stuff beforehand; he drifts in and out of consciousness.
sometimes it just naturally goes in directions people didn't expect - i'm thinking of pam murphy and will hines on a recent episode. when we take a break, I'll usually ask, "Is there somewhere else you were thinking of going with it, and can i lead you back there?" Most improvisers don't care about where it ends up, because the journey is more important than the destination.
I thought it was really funny. They flagged our cutaway setups, which had been getting a little fast and loose at the time. Props for that. RE: the cutaways themselves, though, they were off the mark a bit. The cutaways are actually the hardest things to write on the show. Story-centric jokes come a little easier, but when you have to conceive and invent a whole independent little sequence several times in a episode, it's challenging as hell. Like doing a Far Side cartoon 10-12 times an episode.
As mean as that was, I thought that was incredibly poetic for a guy like him. Very unexpected. But I guess there are many sides to all of us.
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With a screenplay you’re creating a world; consider everything, every character, every room, every juxtaposition, every increment of time as an embodiment of that world. Look at all of this through that filter and make sure it is all consistent. As in a painting, every element is part of one whole composition, just as there is nothing separate in the actual world there should be nothing separate in the world you create.
Don’t let anyone tell you what a story is, what it needs to include or what form it must take. As an experiment, go out of your way to write a non-story. It will still be a story, but it will have a chance of being a different story. Our brains make stories. It is as basic to us as breathing; we cannot do otherwise. Free yourself – and by extension the rest of us – with your efforts. If you give yourself too specific an assignment you will keep yourself locked away from your work. Go where it takes you. If you say you want to write about homeless people, and in the end reveal their humanity, you’ll end up with something illustrative and perhaps instructive.
If you say, ‘There aren’t words t...
I’ll tell you this little story now, and I don’t know why I’m telling it but it’s interesting to me and it just seems like there’s something inherently cinematic about it. I run in my neighbourhood, and one day I ran past this guy who was running in the other direction, an older guy, a big hulky kind of guy, really struggling, huffing and puffing. I was kind of going down a slight hill and he was coming up the hill. But it was very slight, and he was wearing a headband and his sweatshirt.
So he passes me and he goes, ‘Well sure, it’s all downhill that way,’ and I love that joke because it’s funny. And he made a connection and it was sort of a witty thing to say. So I had it in my head that...
Storytelling is inherently dangerous. If you consider a traumatic event in your life, consider it as you experienced it. Now think about how you told it to someone a year later. Now think about how you told it for the one hundredth time. It’s not the same thing. A few components enter into the change. One is perspective. Most people think perspective is a good thing to have in a story. You can figure out characters arcs, you can apply a moral, you can tell it from a distance with understanding and context. The problem is that this perspective is a misrepresentation of the incident; it’s a reconstruction with meaning and as such bears very little resemblance to the event.
The other thing tha...
I don’t think my personal story, what’s actually happened in my life, is that interesting to anyone, but I think the feelings we all go through that are universal to the human experience are stories that I’m probably interested in delving into. I think that we all become a little more attuned to the effects that our words have on other people. I think Between Two Ferns and my history with shows like Mr. Show [with Bob and David], we embraced button-pushing and trying to find where the line is, and the line continually moves, which is a great thing. I think as long as it has some sort of attempt at artistry in it, it can be good to kind of try to go up to that line or even cross the line, and...
Well, I know how you DON'T tell a story saying the ending part first, because that's what my mother does all the time, and that's what people sometimes do in the audience, where they'll yell out "DO the joke where the thing at the end happens?!"
You know how they always say a story has to have a beginning, middle and an end?
Well, I find that if you have a beginning and an end, you don't really need a middle. Why waste time with a middle? Who ever goes "You know what part of the movie I liked? The middle.. That long part between the beginning and the end." That is no one's favorite part. Although I worked on the Middle and it was a fine show.
...And just because the other person is silent...
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MTV did me the biggest solid ever by picking up my show from public access TV and putting us on the air. So I love MTV. As far as currently, I don't really watch much TV. I think it is more for younger people. I'm 42 years old now and am more into old school talk shows and the news.
Fox behaves like two different companies. There's the entertainment wing, and there's... you know, the other one. They don't really communicate. So they may as well be two different entities.
Who was it that said: If nominated, I will not run, if Elected, I will not serve? Whoever it was, they were an idiot. If nominated, I will run, and if elected, I will serve.
But as we know, television is not a democracy but an oligarchy. They don't hire a lot of guys who run around saying oligarchy. Many times a boss will call me and say "I'll have to let you go" and I'll say "Why" and they'll say "Well you sell more than everybody else at the plant, but you've been saying Oligarchy in the break room too much at lunch. In fact the suggestion box is filled with pieces of paper that complain about that." And I'll say "well sir, Oligarchy, holy fuck" and then I know it's time to pack up my duf...
I want to sell a show. I’m working on a show now about introverts—it’s called The Introvert’s Survival Guide, and each show is a different scenario, and how to deal with it. It’s a fun idea. Introverts have no spokesperson—I want to be that guy.
There was a shop in San Francisco that sold laserdisks - that's how far back it goes - and then later on I found a wonderful bookstore in San Francisco called Green Apple that would sell DVDS of Anime shows.
If I had to pick out one, it would be the Perot / Gore debates in 1994 which attracted almost 20 million viewers.
Netflix gave 8 alt comics the chance to do whatever we want for 30 min, and it really was so wide open. They didn't give many notes during the process and were very cool with us sticking to our guns if we preferred something a specific way. Almost all of the characters in my special are from my podcast or CBB.
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