A Quote by David Steinberg
The odd thing about comedy is that the more personal you are, the larger the audience.
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Comedy can be more difficult than drama. It requires more attention to timing. In the theater, you're always dependent on the audience for the energy, but in comedy the feedback you get is more important. You can judge by the quickness and the length of the laugh just where you stand with the audience.
I was thinking about comedy and how comedy in many ways opens us up to ideas and really being influenced by Richard Pryor and sort of the way he would use comedy to really speak about larger social issues.
Here's the thing, with comedy - and I learned this from Will Ferrell - you can't be ashamed. If you're doing comedy, you have to fully commit to the joke. Shame is not part of it. If you act shy or uncomfortable about your body, that makes the audience shy and uncomfortable. And in a comedy you just want them to loosen up and laugh.
I feel like L.A. is more of a showcase, and Chicago is a pure comedy scene where you're doing comedy for comedy. You're doing comedy actually for the audience that's there.
.. I get more of a dreamy thing from the audience - it's more of a thing that you go up into. You get into such a pitch sometimes that you go up into another thing. You don't forget about the audience, but you forget about all the paranoia, that thing where you're saying, 'Oh gosh, I'm on stage - what am I going to do now ?' - Then you go into this other thing, and it turns out to be like almost like a play in certain ways
It was odd to have something so personal out there in that way, but the good thing about art is that no one necessarily knows what you mean by it anyway.
My thing was always more character-driven comedies, not sketch comedy - not that there's not room for both or one isn't enjoyable, just my personal taste, I like movies that comedy comes from out of flaws of people, things that are uncomfortable, out of tragedy.
I make dramedies, but 'Tangerine' really has a lot of comedy, and I saw that it had a great effect - it reached a larger audience.
Hedda Hopper was a better direct opponent to [Dalton] Trumbo. We wanted to use Trumbo's battles to represent the larger battles, so the audience could understand the personal sacrifice he went through and the personal damage to his family. The choices were about who were the best representations of his antagonists, which is why we chose as we did.
That is the problem with comedy in India. Spoofing sells. Come up with original comedy about the hilarious nation we are, with funny accents and odd rituals, and we get into trouble.
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.
The odd thing is how, I think, the intensity and devotion to my craft and the intensity of certain performances or types of roles I've played overshadow the comedic stints that I've had. 'Darjeeling Limited' is a comedy; The 'Brothers Bloom' is a comedy.
[on making the transition from the comedy "Mary Tyler Moore" (1970) to its dramatic spin-off series "Lou Grant" (1977)] We were really worried about changing over from a three-camera, half-hour comedy to a one-camera, full-hour drama. The audience wasn't ready for the switch - even CBS billed us in their promos as a comedy. In fact, the whole thing was impossible. But we didn't know that.
As much as we love playing the small clubs, we'd really like to get ourselves in front of a larger audience. I'm not talking about arenas or anything, but nice theaters and larger clubs.
The only thing I miss from the sitcom format is that immediate gratification of when you're, if we're talking about comedy, of the live audience.
There's something therapeutic about connecting with an audience - when there's something really sort of odd or silly that you think is funny, and conveying it to an audience.
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