Scott told Harris Wittels that the reason he probably doesn't like the band Phish is because he associates the band with a stoner guy in college who had sex with his girlfriend and subjected him to an epic Phish jam when they rode in a car together.
When he was young, he started a short-lived band, The Naked Postmen, with Adrian Young, who went on to be the drummer for No Doubt.
He is married to married to Kulap Vilaysack, who he refers to (in jest) as his "ex-girlfriend".
I think the first year of the podcast still holds up. I think everyone hates their first 10 episodes, and a lot of people actually take them down and don’t put them back up—mine are up there. But I don’t know, I think the thing the podcast taught me that I wish I knew 10 years before the podcast was how to be a little bit more in the moment of my comedy career. When I first started, I think I was, like, [viewing] myself as more of a craftsman or a writer, and a lot of my performances were very intricately written and not in the moment. I think what the podcast taught me was truly to just be in the moment and not plan anything and know that comedy is essentially meant to be stupid and silly a...
I am currently reading almost everything I can - loving Spider-Man and Silver Surfer by Slott; bummed Fables is coming to an end; stuff by Jason Aaron is great, just read Ant-Man by Nick Spencer right before this started, and it really had that Superior Foes of Spider-Man feel. Currently re-reading Hickman's FF, which is so complex and well-thought-out, it frightens me from ever attempting something similar.
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...
sort of answered above, but PFT and i discussed, and i really wanted the show not to be so impenetrable, you know? Like, this is the first time people are listening, so why can't I show them the difficulty involved in putting together this show, so they can appreciate it? It's like how Bernie Brillstein advised bob and david to come out as themselves at the top of Mr. Show - then people could appreciate how they were doing all the characters.
I think everyone gets tired of who they are, or their own brains sometimes. I think the important thing is to keep pushing through into unexplored territories - new ways to express ideas or new jokes. that's when I feel really good- hitting on something new.
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.
plotting can be tough because you're never quite sure you're doing it right - it's usually kind of like an exploration. You try something, and figure out what it needs. For instance, one episode we were plotting last night, I felt like it was all things happening, and no emotional connection from our charaters. So we figured out what my own personal connection to the plot would be, and that actually helped us figure out the things that would happen more easily. It's also helpful if your characters can have opposite points of view about what's occuring.
To motivate, I would try to outline as much as you can before you ever start writing a line of dialogue. If you're having trouble plotting, ...
I think dystopian future movies are more saying that life is going to get so hard for people that nothing will be funny, but that’s never been true. During the terrible times of the Great Depression, there were great works of meaningful art that came out of it, like The Grapes of Wrath. Comedy was huge back then. Comedy is an escape from things getting so difficult.
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...
I sometimes think that it would be fun to be a lawyer because I find a lot of what I do in my podcast, Comedy Bang! Bang!, is what I call comedy lawyering, where I’m sitting there cross-examining the other person to try to lead to something funny. I know a lot of being a lawyer isn’t like that, it’s just a lot of court appearances where you’re scheduling arraignments and stuff like that, but maybe an old Southern country lawyer that’s, like, fanning himself with a newspaper in a hot courtroom.