I loved most of them but superbad, This is the end, and Sausage Party were awesome.
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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.
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."
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.
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Tommy Wiseau is the master rewriter of history, because when he was making The Room I think he was completely sincere. He was aiming for [Marlon] Brando and James Dean and came out with something completely different. But when he realized that people were laughing at his film, he then rewrote his whole script [of his life]. ... He came out and said, "Oh, I intended it to be comedy." Whereas, in fact, he had kept it in theaters — on his own dime — for two weeks to qualify for the Oscars.
I like the very moment when you think of a great idea. I also like the first time you show an audience the film, but only if it works. That also can be the worst moment of your life.
It was a blast. First movie I ever did. Major memories: Danny McBride and I watching the Tyra Banks Show at lunch everyday and the stuntman breaking his leg for real in the opening scene!
when i did pootie tang i signed a deal that i served at their pleasure and had no creative control. It was worth it because I got to direct a studio movie at a young age and I learned. I don't sign deals like that anymore though.
As I move through time, things change. I change, the world changes, the way the world sees me changes. I age, I fail, I succeed, I am lost. I have a moment of calm. The remnants of who I have been, however, hover, embarrass me, depress me, make me wistful. The inkling of who I will be depresses me, makes me hopeful, scares me, and embarrasses me. And here I stand at this crossroads, always embarrassed, wistful, depressed, angry, longing, looking back, looking forward.
I may make a decision and move from that crossroads, at which point I find myself instantly at another crossroads. Therefore there is only movement. A screenplay is movement. It is written in time and expresses a passage of ti...
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We have a zero tolerance policy. If the kids or their parents aren't cool with what we do then they can't work on the show. Not trying to be dicks or anything, but we put it out there so we don't have to watch our mouths at all. You'd be surprised at how cool most people are.
Well, we didn't part well. I was sort of ambitious thinking that I could hire someone that had the intelligence to do a job but didn't have necessarily speech or couldn't quite hear or spoke in sign language. She was a bright person and witty but she had never been away from her home before and even though I tried to accommodate more than I understood when I first hired her, she was very young in her emotional self and the emotional component of being away from her home was lacking. I tried my best, but I was working all day. She was lovely and very smart, but there's a lot of frustration when you meet people who can't speak well. Being completely disabled in that area causes a great amount ...
My brother Brian was my first great influence. He made much of what I am possible. To this day, if I have a question about something ethical or about being an actor or entertainer or a person or something like that, he's a person who helped form me. Shooting scenes with him is delightful. The idea that the two of us get to entertain is a kick.
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I will say that off the top of my head, the two favorite sketches that I was a part of had to have been the Harry Caray space show with Jeff Goldblum and, of course the cowbell sketch with Christopher Walken.
My favorite cast member to work with was Julia Louis-Dreyfus.
I loved making FLETCH. Probably was my second most favorite movie to make, just because I was allowed to make up so much of the dialogue. I can't even remember learning any dialogue! I was just given the right by Michael Ritchie, a terrific director who's passed away, I'm sad to say, but he let me just go. And that's why I had such a good time doing it, and you know, looking back on that, I don't think I've ever been funnier in some ways!
On a scale of 1-10 I would have to give it a perfect 10. Playing blind was particularly fun, especially the fact that Ron is the most petulant blind person you'll ever come across.
One of the few times I almost broke character is when Chris Farley got hung up on the Weekend Update letters behind us as he was supposed to be hoisted up on a cable and flown over the audience. Too funny!
Being on Curb was the most fun I've ever had other than watching my twin boys clown around for me. It was like comedy fantasy camp. Larry David is another mega-hero for me. I auditioned and got cast as Yari, the vaguely foreign softball coach/mechanic. But I didn't know until I showed up for the shoot that they wanted me to do a speech to the team. So I asked Larry Charles, the director, if it's okay to curse. And he gave me the answer I wanted to hear. So I had about ten minutes to write a couple of things down that made me laugh. Then we shot it and Larry didn't know what was coming. I've heard he's an easy laugher but still, seeing him crack up felt like alley-ooping to Michael Jordan. I'...
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