A Quote by Brad Williams
I don't know how to write jokes from the point of view of a six-foot-two guy. So, I'll always talk about it, but I just don't want it to be the absolute focus of all of my act.
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As one of my teachers, Buckminster Fuller, says, we were given a right foot and a left foot, not a right foot and a wrong foot. The point is that, there's always two points of view out there, and we need to increase our ability to allow another point of view. Then we have a better chance for peace.
I am highly variable in my devotion. From a doctrinal point of view or a dogmatic point of view or a strictly Catholic adherent point of view, I'm first to say that I talk a good game, but I don't know how good I am about it in practice.
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?"
It's joyful in that there's another point of view on all things, you know, not just mine. That's why I like to write and collaborate with people. There's another point of view, and when those two things come together, and people work at it really hard, they get something that is the whole is more than the sum of - is that how you say that?
I always want to be a member in the audience, and I want to hear it from their point of view and see it from their point of view so I can know if it's good. But that's just my issues, not a real problem.
A label is like a bank with all these really important relationships, and maybe an aesthetic or a point of view. But if you only want to release two songs, you don't need the guy who can talk to all the retailers, because they're not going to stock two songs.
The last thing you want to do is preach to the converted. What you want to do is talk about issues from a non-political point of view, from a human point of view.
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've always been one foot in, one foot out of this game because I'm not comfortable with being on the pedestal or the poster. That's just not who I am. I'm more like the grunt. I want to be the guy behind the guy.
For me, no matter how serious the subject is, when I try to write about it, I have to write about it from a comic point of view. It's just the way it comes out.
If you want the film [La La Land ] to represent all things jazz, it does not. You'll be disappointed by that. But, if you just see it as one guy's point of view, one filmmaker's point of view, and one story among many stories that can be told about jazz, then it's not as much of an issue.
When someone walks in and you say "a six-foot-tall man," you miss the opportunity to describe what a six-foot-tall man would look like to your narrator, because how the narrator describes a six-foot-tall man says more about the narrator than about the man.
I believed early and still believe that everybody who can act can do it already, just they don't know how and don't want to talk about it.
I just tend to think about everyday things for my onstage act. Actually you know what I like to talk about just the absolute most - the more mundane the subject matter, the more interesting it is to me.
I've always tended to write comedy, but I'd hate to just write some kind of sitcom or a lighthearted series of jokes and slapstick. I wanted to talk about some deeper things within the comedy.
My readers often tell me that what they admire about my books is my ability to write from so many points of view. My challenge to myself is whether I'll ever be able to write a novel just from one point of view. It seems impossible.
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