A Quote by Jeff Dunham
There's no real formula for doing it, it's either just living life and writing down a joke you think of in the middle of the day and then pieces those together later.
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I feel very protective in the first draft, when all the pieces are coming together. I work in a way that is not linear or chronological at all, even with the short story. I will just be writing bits and pieces, and then when I have all the pieces on the table, that for me is when it feels like the real work begins.
I was the person who did academics until the middle of the day, then went on auditions. I think there was a moment later in my life where I was like, "What am I doing? Why am I so serious?" .
For the first three years, when I was writing, I was doing sessions with a whole bunch of different people all the time every day until I met Lindy Robbins, who kind of mentored me. And then, once you find that, all the pieces come together.
I don't really think dreams have real meaning. Some people believe in that. I just think it's your brain, after a day of crazy random pieces of information jumbled together, creating interesting stories. I just view it as entertainment.
The trick generally is to break programs into pieces and have those pieces be individually testable and so then when you move on to the other pieces you treat it as a black box knowing that it either works or doesn't work.
Scripts are a house of cards and you can't just reach in the middle and pull out the middle card because the house of cards will fall down. But at a certain point you almost have to allow that house of cards to get knocked down a few times because you need to make it sturdier. How many times do you hear, "No, that doesn't make sense," or "Why would this happen?" That was a mistake. You shouldn't have those moments, because the moment you're knocked out of the story, then you're dead. And all you can go is moment to moment,or joke to joke. And that's gonna wear people out.
Someone said to me at a party once, 'Oh, yeah, you're a comedian? Then how come you're not funny now?' And I just wanted to say, 'Well, I'm just going to take this conversation we're having and then repeat that to strangers, and then that's the joke. You're the joke later.'
When I'm writing a novel or doing other serious writing work, I do it on a schedule that dictates writing either 2,000 words a day or writing until noon. After I hit whichever mark comes first, then I can give my attention to everything else I have to do.
Doing nothing about climate change is still a fairly common affliction, even in this day and age. What to do with those people, who are together threatening everybody's existence on this planet? Clearly we don't really think they should be blown up, that's just a joke for the mini-movie, but maybe a little amputating would be a good place to start?
I've been in the industry for 15 years, and I knew all the pieces that needed to be included to make a series. It wasn't just about writing characters, it wasn't just about writing a funny joke.
We love Formula One and think Formula One's great. But we think Formula E is different. We would be making a big mistake if we tried to compete with Formula One and be similar to Formula One, we have to be radically different to Formula One to have a chance of survival. I don't mean survival by beating Formula One but co-existing complimentary to Formula One.
My favorite elements of 'Start Talkin'' were those man-on-the-street pieces. I love shooting those. I was born in Manhattan, have lived in or around New York my entire life, and I feel like I'm in my element when doing those pieces.
You have to adhere to a philosophy that the life unexamined is not worth living, because otherwise you're just living from day to day and you don't have any real sense of yourself or where you are.
I had a nice part at big newspapers, small newspapers, and then I went to a very big newspaper - 'The Wall Street Journal.' I wrote longer pieces, and I got tired of working so hard on stories that had a shelf life of essentially one day. So then I started working on longer magazine pieces and realized then that you might as well be writing a book.
You can forget that other people carry pieces of your own story around in their heads. I've always thought--put together all those random pieces form everyone who's ever known you from your parents to the guy who once sat next to you on a bus, and you'd probably see a fuller version of your life than you even did while living it.
Real integrity is doing the right thing, knowing that nobody's going to know whether you did it or not. Sooner or later, those who win are those who think they can.
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