A Quote by Charlyne Yi
I do a little improv in my shows. Kind of like our movie, I'll do beats and ideas of dialogue, but I think there's less pressure because it's a live show. If you mess up, the audience laughs because we don't really know what we're doing. But as far as shooting, that was very scary, trying to make a point and drive the film. It definitely helped improvising.
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And writing comedy and it really taught me how to kind of like craft jokes, it sounds like weird but really focus on crafting jokes and trying to make the writing really sharp. At the same time I did improv comedy in college, and that helped with understanding the performance aspect of comedy, you know, because it's different when you improv something vs. when you write it and they're both kind of part of my process now.
All improv turns into anger. All comedy improv basically turns into anger, because that's all people know how to do when they're improvising. If you notice shows that are improvising are generally people yelling at each other.
With a horror movie most of the actual jumps and scares are made in the edit. It's often not very scary on set and then you watch the film and suddenly it's very scary because the way the jump scares fit together building up the suspense in the audience because it's making them jump when they're least expecting it.
I felt that, as time went on, an audience gets to know you and in a weird way, you kind of feel like you get to know the audience a little bit. When I'm doing stand-up gigs now, I feel like I'm doing gigs in front of people I know. I think that's the result of doing late-night shows for so long.
Sometimes you have to kind of keep proving that you're improvising. That's the game, or the goal, of long-form TV improv, is that you have to kind of keep reminding and showing people that you're improvising, because they won't believe you really.
Live theatre is great. I loved doing the League live because you get that element of spontaneity, but then when I'm doing live I start to crave the precision of filming. It's a different discipline; it's like a scalpel and you're very precise suddenly. It's scary as well because you think this is it, this is my one go at making it if I can the best it can be, because this is how it's going to be remembered and rendered and left on this film indelibly. And people are going to look back on this and that's that.
[W]hen you're shooting a doc, you're trying to class it up because you can. You know, you're trying to make this feel like cinematic experience. And when you're doing fiction you're trying to do the opposite thing you're trying to take this very artificial experience this very artificial experience and make it feel real and visceral.
I guess I prefer to play live, but I don't want to have only live CDs. I like playing live because there are alot of things that can happen. I can interact with the audience and say some things to get me in trouble. On the other hand, the studio is nice because you can really take your time and make something that you know is the best thing that you can ever do. But nothing beats being up on stage in front of all that energy.
The hardest part about improv is getting the audience to relax and enjoy themselves, because most improv is not very good, and the audience is nervous for the performers the whole time. Not that they don't even like the show, but they feel bad for the performers.
Film team kept me very, very shielded when I was that young, because of course, I was seven years old. You know, you're still kind of reading. It's still kind of like, "Cat." "Dog." "Ann jumped over fence." So I guess in a way it helped me progress in school, too, because I was reading so much and memorizing so much. But they kept me very shielded from everything that was going on in the The Amityville Horror. I didn't know anything, basically, about the film. I just knew that it was a scary film. I wasn't allowed to watch it. I can watch it now, I'm just too scared.
I think sometimes when people start doing improv there's some regression towards trying to replicate the "good" improvisers that they've read about in their improv books or heard about from their teachers. That's understandable, because they're trying to learn technique and stuff, but I actually think that my favorite performers are ones who have unique improv technique but also have a unique point of view that you can feel with them and their performances.
I think the pressure has also helped me want to rise above that pressure, and it has helped in accelerating the healing process. It's helped give me a drive. I have a definite survival drive, and the pressure gave me a drive to get on top of it.
I really like the animated film process. It's kind of like doing a play, because you can experiment with it, rewrite it, screen it, go back, then work on it a little bit more. If the joke doesn't work, you can fix it. It's different from a live action movie.
I think each film I do has less and less dialogue. It really helps a lot for foreign sales, because when I go to Europe, there's very little problem with communication. All the gags are visual. The music they can understand, and it helps communicate a lot better.
I think it's just a lot more pressure to make the scenes work when you're doing a film, because when you're doing a series you feel like, I have so many scenes, so many episodes, so if I don't get it exactly right this time, I have another scene later. You feel less pressure.
I love to tell stories, but the making is less comfortable. I like to be private, and being in the middle of a film crew with the least amount of privacy is the discomfort of shooting a movie. For me, the editing is the great moment when I can bring back ideas and realize the movie for the last time before I hand it to the audience.
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