Music and comedy are so linked. The rhythm of comedy is connected to the rhythm of music. They’re both about creating tension and knowing when to let it go. I’m always surprised when somebody funny is not musical.
Music is rhythm, and all theater is rhythm. It's about tempo and change and pulse, whether you're doing a verse play by Shakespeare or a musical.
Comedy is ridiculously hard. And if the rhythm is not right, if the music or the line is not right, it's not funny.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
There's a certain rhythm to comedy that is almost like you're dancing and you just go on autopilot, so to speak. There's something just beautifully enjoyable about comedy in that respect. It's a joy to be able to do that. Drama, you get to go to depths that you haven't gone to before.
Whether I'm performing or directing, I'm aways thinking about rhythm; sometimes it's nailing the right rhythm, and sometimes it's intentionally breaking the rhythm. Those two things are what make something funny or not. How long a shot is and where you put the camera are all part of that rhythm of directing.
The music in Haiti is all tied up in voodoo and African rhythm, and so there's this funny thing: go to a voodoo ceremony, and then go to a Catholic church and tell me which music you liked better, to which one the music is more integral.
Music definitely is part of my rhythm, you know I play with a rhythm so I have to listen to music.
I consider music to be storytelling, melody and rhythm. A lot of hip-hop has broken music down. There are no instruments and no songwriting. So you're left with just storytelling and rhythm. And the storytelling can be so braggadocious, you're just left with rhythm.
The first thing I do in the editing room is the 'radio edit,' where you listen to the dialogue and don't even look at the visuals. The rhythm, the music of the comedy, has to work.
I know melody. I know rhythm; I know bass guitar; I know the piano. I know everything about music that helps build the music that go along with creating the whole art form, you know what I'm saying?
I certainly think, obviously, rhythm is a huge part of being an actor. It just is unconscious, to a degree, but particularly in comedy, rhythm is pretty essential, and there's probably something more physiological going on.
The idea that rhythm is intrinsically human — not just primitive — that we all have hearts that beat at a steady rate and don't stop...reminds me of life itself. In that sense my music is like certain popular music where the rhythm drives from beginning to end.
I mean, in the course of an evening, people will take a solo here and there, but generally it's all about the rhythm of that music. Dealing with the rhythm with everything. That's essentially at least my concept of what that group is.
I think the most important thing about learning comedy is to start from who you are. If you begin the process by imitating what you perceive to be a comedy rhythm, you will get laughs sooner, but you will not be unique.
Humor is like music. It's a rhythm, and you just kind of get the rhythm of it, and you have to know not to let the beat go too long, but to leave a beat in there for it to gel.