A Quote by Ben Howard
A live show is a room full of sound and people and now you have technology where people can film it and take it away and all that is lost afterwards but they have a souvenir.
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Towns are full of people, houses full of tenants, hotels full of guests, trains full of travelers, cafés full of customers, parks full of promenaders, consulting-rooms of famous doctors full of patients, theatres full of spectators, and beaches full of bathers. What previously was, in general, no problem, now begins to be an everyday one, namely, to find room.
Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.
We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.
But now, with the last two years of touring and being on the road, I've learned that a live show should never sound like a record; a record should sound like a live show.
You don't do any show to be celebrated. In fact, you don't do any show thinking what's going to happen in the end. You immerse yourself in a room full of talent and a room full of designers and you hope for the best.
It might take me an hour to get to feel at ease with somebody. I don't find it easy to go into a room full of 10 people and give it all away. In the pilot season in Los Angeles I've done that a couple of times.
I used to take hostages in my relationships and not let people be independent. It always ended in disaster, because you take away people's identity and they end up full of resentment.
At its core, 90 percent of my job is still sitting down in a room full of people, and breaking stories... and that requires virtually no technology.
But at its core, 90 percent of my job is still sitting down in a room full of people, and breaking storiesand that requires virtually no technology.
Of course I got angry when I lost and maybe would cry in my hotel room afterwards. But I would never show it. I didn't want the men's pity. I didn't want to share my pain with them.
I think I'm the funniest guy in a room full of unfunny people. Unfortunately, my career is increasingly leading me into rooms where everybody is funny. I'm the least funny person in a room full of funny people.
Television is competitive now, and the great stories live on television right now. I'm finding that I'm enjoying television more than film, these days. That was my motivation to take a TV show.
If I'm in a room full of intense people, I'm pretty normal. If I'm in a room full of people who aren't, maybe I'm intense. I don't know, I don't think of it that way.
I wanted to create a film that hadn't been created yet. I studied film for many years. The Room is almost 20 years of my work. You see, I understand young people unlike the media. I don't expect people to love The Room 100% but I respect that people enjoy it and that maybe it opens certain doors for them. That's what makes me happy.
If the year 2000 can help us move into the future, that's fine, but I am afraid that people see it as a full stop and that one can take a big breath afterwards - you can't.
In the stand-up comedy top, there's room for everyone - if you're good, there's room for everyone. You'll put on your own show - no one casts you. You cast your own show as a stand-up comedian. When you get good at stand-up comedy you book a theater and if people show up, people show up. If people don't show up, people don't show up. You don't have a director or a casting agent or anybody saying if you're good enough - the audience will decide.
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