A Quote by Brian Posehn
A lot of the traditional sitcom stuff I did - I think I could have gone that route when I was younger as a staff writer, and I just didn't want to.
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I could have gone the route of a lot of these former child actors, but I didn't want that for myself. Like I said, when I was 14 years old, I decided to quit. I didn't ever want to do it again.
I wouldn't consider myself a traditional sitcom actor or someone you'd even think would be in a sitcom.
I'd like to explore the more abstract side of people's minds, as opposed to the usual sitcom stuff. I don't want to do the typical sitcom-type humor. I'd want to do stuff like go bowling with pineapples.
I did a lot of music criticism. I don't think much of it was any good. I think I wanted to show off a lot when I was younger. Now I just want people to enjoy the story. If it were possible to publish anonymously, that would be awesome.
I think burnout is a big thing. If I could do it over again, I'd probably do it the same way, playing other sports when I'm younger. I see a lot of parents really push their younger kids really hard, and you want to see your kids do stuff, but there's a point where they really should have fun at that age.
I don't think of myself as a producer. In television, it's part of the business - if you progress and become successful as a writer, you're called a writer-producer. What that means is that you have a lot of say in casting and behind-the-scenes stuff. But I'm just a writer.
I really like the stuff that is very absurd and very real at the same time. I think Anton Chekhov is the greatest comedy writer of all time. I think he would make a great addition to The Office staff. If you look through Chekhov plays there is a lot of awkward pauses in there. His mixture of pathos, absurdity, truthfulness and whimsy is just mixed together perfectly.
It is a very brave choice to go against traditional medicine and embrace the alternative route. It's easier to try the traditional route and then, if it fails, go to the alternatives, but often it can be too late.
I had a lot of different jobs between fifteen and nineteen. I'd moved out of my house way, way younger than I should have. So I was living out on my own with my brother when I'd just turned sixteen. I did busboy stuff, and worked in warehouses, and did odd jobs, and stuff. I earned me some Pesos.
It's not possible to advise a young writer because every young writer is so different. You might say, "Read," but a writer can read too much and be paralyzed. Or, "Don't read, don't think, just write," and the result could be a mountain of drivel. If you're going to be a writer you'll probably take a lot of wrong turns and then one day just end up writing something you have to write, then getting it better and better just because you want it to be better, and even when you get old and think, "There must be something else people do," you won't be able to quit.
I did take guitar lessons as a teenager, though, and I started to teach myself how to play everything I could play on the guitar on piano, so I had a really weird, non-traditional route to proficiency. I think it probably helped me come at things from a new angle.
I don't think there was ever a moment when I was like, 'Yeah, I want to be a singer!' I guess it just happened. I performed a lot when I was younger and stuff, but I remember getting to the point where I thought I might have to get a normal job.
I really set out to do this traditional looking and traditional sounding multi-cam sitcom, but then make the world as elastic as an animated show could be. Make the world as surreal as we wanted it to be.
I go back and watch a lot of the stuff that I did back in the day, and it was a lot of wrestling just to show that I could wrestle. And I realized that sort of stuff is sort of pointless.
I'm so blessed to have gone to Wisconsin. It's a great school and great coaching staff with incredible fans. I had a lot of great teammates that wanted to be successful. I played behind a huge offensive line. I think that proved a lot, too, as a 5-11 quarterback showing I could play under center with those guys in front of me.
There are certain writers I can't read when I'm trying to write because their voices are so distinct. Cormac McCarthy, he's the most different writer from anything I've ever written, but there's something about those really spare sentences that is just tough - it would be too much of an influence. Grace Paley is my favorite writer. Her stuff is so voice-driven, when I read her a lot I want to make my writing more voice-y and dialogue-heavy. I love a lot of stuff in translation.
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