Aukerman has turned the talk-show format on its head with that Zach Galifianakis web series and a comedy show on IFC, Comedy Bang! Bang!
“I wish there was a comedy census that the government would send out like ‘Here’s the top percentile of funny people in America. You should hire them.’ But unfortunately that program I think got shot down. Probably by the Republicans.”
Not only do Paul Scheer, Jason Mantzoukas, and June Diane Raphael host the bad-movie podcast “How Did This Get Made?” but as working writers and actors they have the experience to know why movies go right or wrong. Here, they offer some tips on how to avoid the latter.
"I used to say ‘If you’ve had a good childhood, a happy marriage and a little bit of money in the bank, you’re going to make a lousy comedian,’" says Steinberg. "The one thing an audience always has in common with a comedian is troubles. The Yiddish word for that is tsuris You’re always putting your tsuris on stage whether you like it or not. No one is untroubled, unless they’re just, you know, an imbecile.”
For Instance: Six months before he died in a car accident, the late Robert Schimmel was interviewed by Steinberg for Inside Comedy. “Robert talked about his cancer and how he’s taken this tragic life that he was living even then, and turned it into comedy material,” Steinberg recalls. “He was very articulate in describing how that liberates people from being depressed.”
“We had a couple ideas last year that we were going to put fake brands into anyway, and the Cheez-It one ended up taking the place of one of those. We were really into the idea of the musical episode breaking out into song in the middle of a commercial because the basic premise that we were working with was ‘this is every part of a talk show made into a musical.’ So the opening monologue would be a musical, the banter between [co-host] Reggie [Watts] and I would be a musical, the interview would be a musical. Then that naturally lead us to, “We should have a brand-integrated commercial that’s also a musical.”
So it was definitely an idea that we had been laughing about, all the while knowing that Cheez-It was interested in doing something. It was an idea that we would have done anyway with a fake brand, and Cheez-It wisely took advantage of it and had us do a real brand—which, to me, works even better. And I think that’s a testament to it, that it’s a lot of people’s favorite part of that episode. It’s such a great song, and Casey Wilson gives such an amazing performance that, advertisement or not, people really love that part of the episode.”
Funkmaster Flex is gonna be pissed.
The LittleBits Synth Kit uses the power of magnets to enable anyone to build their own synthesizer. Let the incomparable Reggie Watts show you how it’s done.
Peretti foresees a future for the app that includes additional apps-within-the-app, as well. “Chels-emojis are in the works,” she says, excited. “I use emojis heavily in life, and I think a lot of people do. There are a number that are frustratingly absent—you know how there’s kind of a generic white man and a generic white woman? I just want to put a generic black man and a generic black woman. I want to put some similar things to what’s in the filters—like a bear, and a wolf—and I’ve noticed things that are missing from the vegetables, such as a radish.”
Also, if you haven’t heard Chelsea’s classic song, now’s the time: http://youtu.be/nyEGpFRWgmw
(photo by flickr user Zena C)
I’m a straight guy, in a marriage. I just didn’t know any transgender people. I’ve read stuff from transgender people on Twitter, and I never would have before. My wife is a teacher and has transgender students, but Twitter helped normalize transgender people for me. I used to use the word “tranny” in a manner that would be derogatory or hurtful if you were on the receiving end. But Twitter exposed me to the idea that they’re human people just like me with wants, needs, dreams, fears, and I don’t do that anymore.
Twitter accelerated the learning curve, where a straight white American guy where the world is classically considered to be my oyster, I now am delighted to be up to speed with the basic humanity of people born one gender who want to be another. I know that’s long winded. But that was an awesome eye opening. It’s helped reduce prejudices that I had.”
Behold the essence of today’s comedic giants, in photograph Matt Hoyle’s Comic Genius which features Steve Martin, Tina Fey, Carol Burnett, David Cross, and Mel Brooks, and many more.
The Daily Show’s temporary leader John Oliver on operating outside of your comfort zone:
“I’m not really much of an actor, so when I started on The Daily Show, I was just trying to adopt the faux authority of a newsperson. Having a British accent definitely gave me a sonic leg up on that because there is a faux authority to the British accent in and of itself. So I think it was just about saying everything with 10% more emphasis and 15% more of an arched eyebrow.”
From a branding standpoint, if a sexting scandal couldn’t kill Weiner’s credibility, surely Carlos Danger will.
What do a startup king, a social network innovator, a hip hop prince, perhaps the best actor on television, and two absolutely hilarious dudes have in common? They’re all among the Most Creative People—and we can learn quite a bit from the way they work.
Improv emphasizes showing over telling, a principle that often manifests in a technique known as “the invisible game” on Key & Peele. The central joke of these scenes is ladled out, beat by beat, but never spoken of. “The audience loves to figure things out,” says Key, who has extensive professional acting experience and a unique physicality honed by emulating silent masters such as Chaplin and Keaton. “They love it when a performer leaves a trail of bread crumbs for them, and they get to participate in the comedy.”
Innovation through improvisation: How Key & Peele busted the forumla and created something new