A Quote by Adam DeVine
I don't really write jokes down. I tend to have a premise that I work out and test on stage.
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I think my one of my strengths in standup is my ability to adlib. I do all my best writing on stage. I can sit down and write jokes, but I'd rather go on stage with a premise or an idea and let the jokes come that way. My creative juices are never flowing any better than when I'm onstage.
Believe it or not, I write on stage. I can't write anywhere else; I have to be in a moment. I also have to challenge myself to make something funny out of a premise. I never have my own jokes written. I have to change things as I go along, and I have to entertain myself.
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.
We've always dreamt of a TV series and working in film. When we first sat down to seriously write 'A Little Nightmare Music,' to write something for TV was our original inspiration. But all the stuff we were writing down is not going to work on stage. We had to rewrite it so it would work on the stage.
Writing is work. It takes a lot of contemplation, concentration, and out-and-out sweat. People tend to romanticize it, that somehow your work appears by benefit of some mystical external force. In reality, to be a writer, you have to sit down and write. It's work, and often it's hard work.
I think I'm succinct to the point of trying to write the two-word novel. Editing my work almost never means taking anything out but rather adding, because I'm always stripping down. I tend to under-write rather than over-write.
I think things evolve into jokes. I don't generally write them down as jokes. I talk them out.
I don't really write jokes. I wait for stuff to happen in life, and then I tell it on stage.
I never really write the jokes. I just sit down over a week or two and try to figure out what I want to talk about. Once I narrow that down, then I start working on the material, like "How do I make this stuff funny?"
I don't write jokes first. I write down topics. I think of what I want to talk about, and then I write the jokes - they don't write me... And even if you don't think it's funny, you won't think it's boring. You might disagree, but you'll listen. And maybe even laugh as you disagree.
I'll come up with an idea for a character, and I'll write some jokes and make sure that that character is going to have some legs to it - that it's really going to work. If I can come up with jokes and material that I think will work, then I make a cheap version of the doll. Achmed started out just being this little plastic toy from the store.
The premise, to me, is the most important thing that you have to know going in. It's the problem as you see it. So I write down the problem as I see it. That is the premise for my book.
I definitely script things out. I definitely write things down and try to write jokes. Often, they're terrible. I often write terrible, terrible jokes.
I'm very quiet off stage. I think I'm a pretty boring person. I'm not super talkative; I spend a lot of my time running and zoning out. I spend so much time trying to write jokes and 'be on,' so when I'm finally off stage, I just want to sit.
By the time I got into test work, it was dying out. It wasn't really flight test at all; it was mostly testing new gadgets.
Military is a great place for a jock. That's the first thing they test you, they test you physically. If you can run, if you can do the pushups, it's not as hard a transition. If you can't do that, you're going to have a problem because they're going to really work it out of you or work it into you.
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