A Quote by Alison Brie
The longer we work on the show, the more the writers just start surprising you.
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One of the things I admire about longer stories is the way writers can work with dead time and slower, more idle moments - not only can they feel expansive, they feel lived-in; the unhurried pacing often makes the endings even more resonant and surprising for me.
One of the great things about the longer you do a character, the more the writers start to understand your kind of character ticks and things that you like to do. The most exciting thing I think for a writer is when the characters just start speaking for themselves. You sit down at your keyboard and just stuff starts jumping out of their mouths. They just sort of wrote the scripts for themselves.
I think that comes with a collaboration with the writers. I think that we get cast in edgier roles because we are a little more offbeat, so people - as we get to know the writers, and as the writers get to know us, they start to write around us more, and that's why I think the pilot is not always the best way to get to experience a new television show, because we're fitting ourselves into these characters. Whereas as the show evolves, they're writing the characters for us and for our strengths and weaknesses.
I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.
As I've been teaching longer and longer, I realize I learn so much from the voices I'm naturally drawn to, the writers I love on an instinctive level - but I also learn so much from the writers that I have to work to grasp.
I think at some level, it's just alchemy that we, as writers, can't explain when we write the characters. I don't set out to create the characters - they're not, to me, collections of quirks that I can put together. I discover the characters, instead. I usually go through a standard set of interview questions with the character in the beginning and ask the vital stuff: What's important to you? What do you love? Hate? Fear? .. and then I know where to start. But the characters just grow on their own, at a certain point. And start surprising me.
I start to feel like I can't maintain the facade any longer, that I may just start to show through. And I wish I knew what was wrong. Maybe something about how stupid my whole life is.
It's kind of like being a writer in the sense that you always hear other writers say, 'Well, the best way to start writing is to just start writing.' The same goes for improvisation. You want to start improvising, just start playing notes. And the more you do that, the more comfortable - or not comfortable - but I guess how you're able to adapt to situations. You become more familiar with your instrument. As soon as you have a musical thought, you can go ahead and add to that musical thought and know your way around.
We no longer need to show people being brave: instead, we can examine how they became brave. We can assume that they didn't start out that way. If we allow that they started out just like us, then their journey into courage becomes both more fascinating and more impressive.
I thought 'Back To You' was a good show. The writers' strike really kind of put an end to that, though, honestly. There were a couple of factors involved, but to start a show and then to have it disappear and not come back for that long... it's just bad form.
Usually I work out the plot before I start. This time I thought: Writers always talk about not knowing where a book is going - -I want to experience that, too. What I found out is that it's very interesting, but it takes much longer because you have so many false starts. You take wrong turns and you have to go back and start the whole chapter, or the whole section, from scratch.
The writers who reject tendentiousness and purpose in their work are the very ones who display it in every word they write. I could draw countless examples from the history of literature to show that the more a writer clamours for spiritual freedom, the more tendentious his work is liable to be.
I have to say that The Simpsons comes from a huge number of great writers headed by Al Jean, the show-runner, and the work that they do is really fantastic. It's a blast just to sit around with them in the writers' room and listen to all the filthy jokes that will never get on the air.
You work for a long period of time and the results don't really show, but at some point everything just comes together and you start to play better, or get more confidence.
Making a success in show business is like getting a big promotion on a job. You get more prestige, more authority, more money - and you also get longer hours, more work, and more responsibility. It evens out.
It's a very different show because of the elements that we're putting in. There's so many different styles of comedy, but Mr. Show was unique to Bob and David - two of the most brilliant performers and writers there are. Their show was based on them. Our show is a bit more broad. We have a cast of 7, we have guests. We can be slightly more topical.
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