I also think if you're an actor and you can improvise, when you go on an audition and you can improvise you're just a genius. If you can, you know, take a Tide commercial and you can just say one funny line that's not in the commercial they think you're a genius.
It's not communism, it's shouldn't be that everybody gets a try no matter how good or bad they are. It's our profession and our art, so we should eventually strive to be working with the best people.
So, if you're doing good longform with talented people than you can step out and you can be the president or a construction worker and people accept that. It's really the roles you give yourself.
Improvisation is almost like the retarded cousin in the comedy world. We've been trying forever to get improvisation on TV. It's just like stand-up. It's best when it's just left alone. It doesn't translate always on TV. It's best live.
I have to say I enjoy physical comedy and I've always loved to kind of take risks. I don't like worrying too much about how I look or how I come across, so that can sometimes... You know, I like to play those kinds of deluded but fun characters.
When you're doing sketch comedy and you're pregnant, it's like wearing a giant sombrero in every sketch.
I hope and assume that every good comedy writer, no matter the age, has a moment where they discover how great Cheers is.
The desire to work with Burrows-Charles was really to change NBC's identity, to say, "We want to be in the sophisticated-adult-comedy business."
I don't watch a lot of comedy. For relaxation and escape, I watch shows about how people survive bear attacks. Or old episodes of 'Law and Order,' the Benjamin Bratt/Jerry Orbach era.
It's very hard to watch comedy for me, when I'm doing a comedy show, because I either watch a show and I love it, and I'm jealous, or I watch a show and I see all the problems with it, and I'm angry that I watched it.
I'd say any good set or any comedy that I've worked on, that's worked, has been comedians pitching ideas back and forth to each other. A lot of like, 'What if you say this? What about this?'
[At Boston College] I started working on the kinds of skills that you need for comedy. It's about being creative and learning to use your gift for being able to let loose and be very unself-conscious. It took me time though before I was really able to get comfortable doing that.
If you do a scene and you really like a character in it or a premise in it to write it down and to work on it so that you can have five or six characters that you can pull out in an audition.
It seems a strange thing, but once I was able to get past that kind of self-image problem, I was able to open up in my comedy work and just go all out, take chances, and have fun with the performance aspect of that.
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