A Quote by Buddy Hackett
A comic, you have to be looking down at him. My favorite rooms, the audience is above the stage, stadium-style.
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At the Sahara, the seats are banked and most of the audience is looking down at the stage. Everybody in the business knows: Up for singers, down for comics. The people want to idealize a singer. They want to feel superior to a comic. You're trying to make them laugh. They can't laugh at someone they're looking up to.
Normally classical music is set up so you have professionals on a stage and a bunch of audience - it's us versus them. You spend your entire time as an audience member looking at the back of the conductor so you're already aware of a certain kind of hierarchy when you are there: there are people who can do it, who are on stage, and you aren't on stage so you can't do it. There's also a conductor who is telling the people who are onstage exactly what to do and when to do it and so you know that person is more important than the people on stage.
Don't let a single comic moment pass you by; then help the audience get the laughs. Give them permission to laugh by holding for laughter and by letting them know early on what they're in for. In the first few moments, the audience is gathering information, looking at the scenery and costumes. Create a comic moment as soon as you can.
Yankee Stadium is my favorite stadium; I'm not going to lie to you. There's a certain feel you get in Yankee Stadium.
In comedy, beware the split focus. The audience should focus on the face of the actor. The audience must see the setup. If there is action elsewhere on the stage, the comic line can be lost.
I never, ever update Mark Twain. I don't modernize it. I let the audience update the material. When I go out on stage, I'm trying to make the audience believe they're looking at this guy who died 104 years ago and listening to him and saying to themselves, "Jesus, he could be talking about today." And that's the point.
It's all about respect; he's looking for respect from his buddies. In the last one he just wanted to hang out, to be part of the group, but this time he wants more from his friends. And without giving the story away, he finally gets something that he has been looking for when the mini sloths kidnap him and take him to their tribal area. He gets to be the Fire King and they worship him and there is an amazing scene with a "call and response" sequence in the style of Cab Callow [the legendary American jazz singer and band leader] between him and his audience.
We're looking at ideas to remodel Arrowhead Stadium. It's 30 years old and it's not a good American soccer stadium. We're looking at ways to improve Arrowhead-which is oriented for NFL games--for our spectators.
Rehearsals and screening rooms are often unreliable because they can't provide the chemistry between an audience and what appears on the stage or screen.
A proud man is always looking down on things and people; and, of course, as long as you are looking down, you cannot see something that is above you.
A comic's like anybody else - he does what he does to support himself and feed his family. But if a comic says the wrong thing, there's a chance the audience will want to take you down.
Todd Glass has amazing energy on stage. Dave Attell is one of my favorites because he's a one liner comic who is always incredibly in the moment with the audience. As for newer people, I think Adrienne Iapalucci writes some great, dark jokes and Sean Patton has a hilarious voice on stage.
I've gone to big stadium rock concerts at some artist's invitation, and there's this invariable, fascinating and rather sad situation of concentric circles of availability. There are Green Rooms within Green Rooms literally within Green Rooms. There are seven or eight degrees of exclusivity, and within each circle of exclusivity, everyone is so happy to be there, and they don't know that the next level exists.
Instead of taking the reader by the hand and running him down the hill, I want to lead him into a house of many rooms, and leave him alone in each of them.
There was a tale he had read once, long ago, as a small boy: the story of a traveler who had slipped down a cliff, with man-eating tigers above him and a lethal fall below him, who managed to stop his fall halfway down the side of the cliff, holding on for dear life. There was a clump of strawberries beside him, and certain death above him and below. What should he do? went the question. And the reply was, Eat the strawberries. The story had never made sense to him as a boy. It did now.
Intimacy comes from being yourself on the stage and making the audience feel, without trying, that you're sittin' down there with 'em, playing, and that can happen in a big hall, if you have a good audience that want to listen.
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