A Quote by Jim Rash
I feel like my experience on 'Community' was that I saw just how important that first year is for a series. That is where you work all the pieces out, and that means honing the characters' voices, setting that tone, finding your angle.
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So the big question is, "Well, do I just dump all those unwanted things and try to start fresh?" And we say, no. You just set the Tone, where you are, by looking for things to appreciate. And by setting your Tone in a very clear deliberate way, anything that doesn't match it gravitates out of your experience, and anything that does match it gravitates into your experience. It is so much simpler than most of you are allowing yourself to believe.
The thing about having an amazing stylist - it's not about who is better: it's more so about your body type finding amazing pieces, but also, setting the tone for what people believe is your life. It's like the editing of a movie or the color-correcting of a photo.
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.
When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while keeping the established tone and the pace and the characters.
I like working in series, so instead of just doing one separate body of work, what if I come up with a different rhythm, instead of every week, what if I make it every year? And so I'm still setting up a series, a repetition, but it's a completely different work flow.
I don't know quite how a story develops in my head. It is a bit chaotic. If I am working on a series, one of the main characters at least is already in existence as well as some setting and minor characters. Finding the other main character can be a challenge. Sometimes this character already exists in a minor role in another book.
My strength is in finding ways to make the government work for the people: finding waste, or money that is not being properly used... or finding opportunities that are out there and making them work for the community.
Very thorough in the rehearsal process but more in terms of just understanding the characters, understanding where the actors are at with discovering those characters for themselves, and just setting an overall emotional tone for the piece as opposed to necessarily getting things up on their feet or staging scenes.
I think it's interesting playing characters who are flawed and make mistakes because we all have - no one's just one thing - no one is just bad or just good - so I like finding flawed characters and playing with their redeeming qualities, whether you play it outwardly or not. I think that one of the reasons I'm an actor is that I love people and I love finding out who they are and why they do the things they do, so it is fun to play those kinds of characters.
I just want to keep finding special characters that I feel like I can bring to life and characters that are real and not superficial.
In community, where you have all the affection you could ever dream of, you feel that there is a place where even community cannot reach. That's a very important experience. In that loneliness, which is like a dark night of the soul, you learn that God is greater than community.
I think I've explained earlier on in the year that I kind of underestimated how important experience was in this series, especially when you're up against such good quality drivers.
On the one hand, I'm so relieved that I've actually managed to finish my very first series and that I've been able to see my characters through to the end of their journeys. On the other hand, I feel like how parents must feel when they send their kid off to college. It's a bittersweet mix.
I always think of myself as a comedy feeder type person, and that feeder lets themselves get out of your comfort zone as opposed to straight stand up; that feels like honing one skill, like honing one point of view.
You have more of an opportunity than people think to impact a game through the tone that you can set. You can't control everything, setting that tone is important.
Series finales have that responsibility to leave you feeling good about entire series. You want to feel like the viewer closes the book satisfied. And if you strike out on the finale it skews how you feel about the entire series.
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