A Quote by Brian Regan
A lot of the kind of comedy that I do comes out of real human moments. For them to work, they have to be truthful kinds of things that people in the audience can go, "Yes, I've experienced that myself!"
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In real life people fart, in the movies, people don't. Why not? Farts are a repressed minority. The mouth gets to say all kinds of things, but the other place is supposed to keep quiet. But maybe our lower colons have something interesting to say. Maybe we should listen to them. Farts are human, more human than a lot of people I know. I think we should bring them out of the water closet and into the parlor.
Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.
One of the things I can do is to try to put myself in different kinds of movies and that kind of subtly changes my work. By the time my obituary is written, I want there to be a great western and a great comedy.
What I do is to collaborate with each actor and work one-on-one to create a character. And that is a matter of huge complexity and is a combination of a great deal of discussion and a lot of practical work. It involves a lot of consideration for the real people out there, and all kinds of sources of real people. The result is the character. But I'm not supposed to talk about what it is we do, because it's nobody's business.
Its funny because when I did feel like I came out and I just felt like I was being truthful to myself, (it was at) that point I became very successful. So you know, it took a true kind of facing that truth of myself and being honest, that was when the real kind of fame or whatever that kind of stuff happened for me.
I have experienced a lifetime of real moments, and many of them were happy moments.
Slice of life comedy is something which I enjoy more. These moments make you smile when you think about them. And these moments work for a film as well, rather than slapstick comedy.
'Funny People' is my favorite performance of myself to date. Even though it's a comedy and there are serious moments, I really felt like Leo felt like a real person. It didn't feel like I was playing myself. Whether it's a comedy or drama, I just try to make it as realistic as possible.
I started making work, and it's like, yes you are calling out all of these things that are part of your memory, your body's memory, things that have gone through your pores, what you've seen, what you've experienced, and you spill them out without thinking. I don't think so much about, "Okay, I'm going to make work, and it's going to be about this." It's just going to come out.
This medium that we're working in - film and television - for an audience, it's like you live through these characters because it's things you can't do in real life. Places you're not prepared to go in real life as a decent human being, anyway. Because if you're a conscientious person, so you live kind of vicariously through these people.
I don't like to know exactly what I'm going to do in a scene, because the most interesting moments as an audience member are moments of truthful spontaneity.
When things aren't going well, I complain a lot and get depressed. I whine and I eat and I go to sleep. I do all kinds of things. And if I'm smart, I'll go and clean out a drawer or a closet or go and pay my bills. I do get myself into situations where I'm not happy with what's going on. But you just have to wait it out and have faith that that dry well will fill up again.
I always had a lot of respect for the hard work and the hours and the dedication it takes to do these jobs but even more now, yes. The fact that we've gotten the opportunity to go to the FBI and meet the people who do this for real and also have consultations with them.
There's different kinds of love, and I'd never experienced that kind of totally platonic love. All the love I've experienced has always been a kind of deal, and now, as I get older, I realise that there's this other love out there.
There's a very interesting article or symposium to be written on just the real difference between comedy filmmaking and non-comedy. Because, you know, when you work in comedy, you depend on audience screenings to tell you about your movie.
Theres different kinds of love, and Id never experienced that kind of totally platonic love. All the love Ive experienced has always been a kind of deal, and now, as I get older, I realise that theres this other love out there.
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