Top 77 Quotes & Sayings by Scott Aukerman

What I love about comedy is breaking down the barrier between the audience and the performer.

I think comedians should focus on what makes them happy, what art form fulfills them the most. Don't be calculated about it and say, 'Okay, I'm gonna tweet, and I'm gonna podcast, and I'm gonna do standup, and one of those things is going to lead me to my own TV show.' I don't think that should be the goal.

I came to one of the first Comic Cons in 1985, when it was just people trading back issues of comic books.

I think that 'Mr. Show' was a huge influence on me. It was literally the reason I started doing comedy, because I was asked to do a bit at The Comedy Store, and B.J. Porter and I went to see Bob and David - who I'd never heard of - do a live show, which was one of the shows that got them the 'Mr. Show' show.

Podcasts feature comedians being as funny as they can be in a non-censored situation. It's really akin to standup in a way. When you go see a comedian in standup, that is the most pure, unadulterated form of their art.

When I was younger, I definitely had more of a dream, as they say on 'American Idol,' that I would have my own show. I always thought that that was something that would happen, that eventually I would just get my own show because anyone who wants their own show should get their own show.

I think expressing yourself and working hard can't help but have great results. Look at Zach Galifanakis. He didn't tweet. He didn't have a podcast. He just went out and did the funniest standup you'll ever see in your life. And he was rewarded for that.

I remember when I first started, the first movie I wrote that didn't get made I was aghast. 'Wait a minute, that's not how this is supposed to work. You write a move and it gets made!'

I probably could be a world-class screenwriter by now if I had spent the kind of work I devote on Comedy Death-Ray to that. But I do okay, in that regard. I mean, my stuff gets bought, so it's all right.

Your average comedian doesn't know the podcast universe, really.

I'm probably doing puns more than anything in my life.

I came into the 'Comedy Bang! Bang!' TV show with a level of confidence that I don't think I would've had if I hadn't been doing the podcast for three years already. I certainly had to figure out in those three years the sense of humor I wanted to do and the way to talk to celebrities without being incredibly intimidated by them.

After I did 'Mr. Show,' I was basically just a writer for a while. I was really young, and I kinda was like, wow, I'm 27 and I was already on this iconic show, and now I can just coast. But no one likes coasting, because you have to fill your day with stuff.

Working on 'Comedy Bang Bang,' we're there from 10-7, and that's a pretty light day compared to most other TV shows. Other shows, it's like 10-10.

The best sketch shows are from a group of tight-knit people who've worked together for a really long time.

I'm a huge Bob Hope fan, up until about the late '50s. I've seen so many of his movies up until then, and they're a big influence on me and a big influence on Woody Allen, who is basically just ripping off Bob Hope for his first five or six movies.

I guess when I was a kid I wasn't the type of person playing a lot of pranks. I was the type of person upon whom pranks were pulled.

I grew up loving David Letterman and Pee-wee Herman, but as far as live performance comedy, all I knew were the Jerry Seinfeld-type comedians of the world, and that's what I thought live performance comedy was all about.

Doing the podcast, the whole reason to do it is just because I can do whatever I want.

I'm not the type of guy who's funny in the room. I'm the guy who's funny late at night on a computer, trying to construct jokes.

That's one of the benefits of working with a smaller network like IFC. You're awarded more trust, but trust that I really earned.

I was a standup comic, which doesn't necessarily mean you interact with people all that much. In fact when I did shows, I wouldn't talk to the audience very much. Then my friend offered me a radio show, and I thought, you know, I'll try talking to people and see what kind of interviewer I was.

I've always been fascinated with radio and broadcasting. I did fake radio shows as a kid, where I was a DJ and stuff like that.

I was always a big fan of Mel Brooks and Carl Reiner's '2000-Year-Old Man' sketch. I think it's one of the biggest influences on the podcast, definitely. You'd never say Carl Reiner was the funniest dude on there, because he's just teeing it up, but he knows what questions to ask to lead to great improv.

At the end of Season Four of 'Mr. Show,' instead of doing another season, everyone just thought they wanted to go and do a movie. Kind of like Monty Python. Monty Python went right into 'And Now For Something Completely Different,' and everyone kind of compared 'Mr. Show' to Monty Python.

I think you're a better comedian when you're in the moment and you're kind of reacting to what's happening like a real person instead of doing rote memorization.

I get inspired when I look at Tom Lennon, who did 'Reno 911!' for six seasons while writing huge movies and directing and also doing other pilots; he did that FX pilot, the 'Star Trek' thing.

When I was growing up, I wanted to do Letterman and I loved that live, in-studio model. I still would do something like that.

The big problem in translating is that we had to translate the language. People may not know that we record the podcast in Japanese, translate it to English and then actors play us on the podcast. I'm not actually Scott Aukerman, I'm the actor who plays his voice on the podcast. Unfortunately, it's cost prohibitive on a television show.

My partner, Jeff Ullrich, and I always thought Earwolf was going to be big. There were a couple of studies before we launched saying podcasts were going to really grow. But I remember so many conversations at the beginning where people would say, 'How are you going to make money with this?'

The podcast was kind of an afterthought, because I was just excited about being on the radio. Then I found that the podcast listenership is some 20 times what people are listening to on the radio.

If you look at Earwolf, we've tried to have a really diverse stable of hosts. Even my show can get a little 'dudey' sometimes.

I have new bodyguards ever since I got a TV show. I didn't know, but it's a lot like becoming president. They tell you every single secret, like who shot JFK. When you have a TV show, they not only tell you who shot JFK, but they assign you bodyguards.

I look back on our productivity in the 'Mr. Show' days, and think, 'We probably could have worked harder.'

There's always something interesting about comedy teams that have the exact same energy. The one time I really noticed that was Will Ferrell and John C. Reilly in 'Step Brothers.'

You see people who are disenfranchised elsewhere coming to Comic Con and making lifetime friends. I love seeing the outcasts of society all bonding together.

Most of the stuff I've written has never even gotten made. It's par for the course. It's a great living, but it also gets very frustrating.

There's definitely something about the structure of 'Caddyshack' that is unique that no one has ever been able to achieve since then.

The power of podcasting is pretty remarkable. It is such an amazing way to mobilize fans. It's almost like they're part of your family. They probably listen to you more than they listen to their own families. I know that's true for me. So there is a real bond there.

After the comedy boom of the '80s, there was a certain formula that comedians had to do and could do in order to be successful touring comedians, and those were mainly observational comedians who had a very strict structure of what made an act, and I think it was very performance oriented.

Not everyone can be as successful a performer as myself, who gave 10 great performances the first time I ever did comedy, and then toiled in obscurity for years.

Comedy is really best when watched with other people, and I don't really understand people who sit at home watching comedy movies on Netflix.

It's really difficult to make things, and a lot of times you don't know you're at the end of something.

Things go away and projects crumble and disappear, or you make your movie and it comes out and no one watches it.

I always tried to do cool things.

We have a philosophy of we'll keep putting it up until people get it. We did that actually these last three weeks with Cracked Out from New York. People didn't really understand them. We put them up three weeks ago and they just got stared at.

I would say we had two goals when doing this CD. The first goal is to introduce people who have never seen the show before to the best comics that are on the show. And goal number two is to introduce people that they never heard of before and give you a bit more flavor of what the show is actually like. And those goals are very much in line with the philosophy of the show from the very beginning. It's the very best people who are out there.

I always viewed [the podcast and the TV show] as two separate things.

Thank you for listening to Comedy Bang Bang! My name is Scott Aukerman and I will see you next week.

Endings of television shows are sometimes such depressing things. I think shows that have more of a narrative and are about what's going to happen next, those need to wrap up as a complete story. But it's weird when a goofy comedy show needs to end, and we knew it was going to be the end, and sometimes it's just better if a comedy show ends and goes away and they never had a series finale.

You don't get a lot of life milestones in show business. It's really difficult to make things, and a lot of times you don't know you're at the end of something. With Mr. Show, I was only a writer and we knew we were going into the movie, and we thought, "Okay, like Monty Python, we're going to make five movies." And we didn't know it was the end. So it ended up being a bummer and such a terrible ending for Mr. Show. We never got to feel like, "Wow, we did it! We did something."

I get inspired when I look at Tom Lennon, who did Reno 911! for six seasons while writing huge movies and directing, and also doing other pilots; he did that FX pilot, the Star Trek thing.

The best sketch shows are from a group of tight-knit people whove worked together for a really long time.

?f course you can only write comedy when you're smoking weed.

I probably felt some sense of relief, because when you're on this continuous production cycle and you're doing a show for a network where they expect you to come back every May or every June, you just don't get time to sort of recharge.

Intimacy is really good. But then again, the first disk on the record is not intimate in the least. It's a really good CD.

I love all of our subpodcasts.

So much of comedy is feeling comfortable with the point of view coming at you. So I understand it. There's people who I find hilarious now, but the first couple of times I saw 'em, I was like "What is this? I don't get it at all."

When people look at the ratings and they're bad, I think people can get an idea of "Why would they even make the show?" And to a certain extent, original programming for any network is a loss leader to try to get you to keep the channel on your cable package.

When we came to the network, it was a very interesting time where Portlandia had just come on the air and had been very, very successful. I think people had Portlandia-sized expectations for Comedy Bang! Bang!, especially after the first episode was sampled by quite a large number of people. I remember getting the ratings after the first episode, and the network was over the moon about it. And then the second episode tanked so hard. Like, no one watched it. It was a resounding, "Hey, a bunch of people tried your show, and they all hate it!"