A Quote by John Oliver
You don't really know when stand-up material is TV ready; it's just at what point you're willing to let it go and not work on it anymore. I'm not sure there is a point at which you think: 'And that is finished.'
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I was so grateful to work on 'Bunheads.' We had so much material, and everything was so rapid-fire, and I developed - through theater too, I developed a really great work ethic. I think preparing for both of them is just that - you come to set ready to go, ready to play. You know your lines. You're ready to work.
I think a lot of times when people have "creative blocks" and I know my share of friends do as well if they're at just some stuck point. They're not sure what to do with their lives or their writing or their photography or their filmmaking or whatever it is that they're doing. I think the best advice is you have to change your life up completely; to go on a trip, to go spend a year being of service. Be willing to take some major drastic action to get you out of your comfort zone and go inside, not outside.
Stand-up life is really hard. At one point, I got so paralyzed I could write five screenplays before I could write three jokes for stand-up. Later, I've finally allowed myself to relax quite a bit, to think I can do it because I've done it in the past. The pressure to come up with the material is the same but the anxiety about whether I can do it is gone.
Typically in horror films the character just services the plot, and you really are just going from 'point a' to 'point b,' just so that you can end up at 'point c.' They are just sort of stick characters. That's just not interesting to me.
Winning is fun... Sure. But winning is not the point. Wanting to win is the point. Not giving up is the point. Never letting up is the point. Never being satisfied with what you've done is the point.
I've been in those relationships. You go through years of your life and at a certain point you wake up and you go, god, what am I doing here? What have I spent the last three years doing? Part of it is learning, this process you've gotta go through. You have to recognize the point at which you're not learning anymore, and be able to let it go.
The corner of the 'food media' that I think is troublesome to me is the shows on TV that don't really have a point or don't have a lesson to be learned. If you don't have a point, or if there's not some part of it that is meaningful and can change someone's life, in my old age, I'm just not into it.
In everybody’s life there’s a point of no return. And in a very few cases, a point where you can’t go forward anymore. And when we reach that point, all we can do is quietly accept the fact. That’s how we survive.
I think the Davis Cup has some untapped potential. It should be as prominent as the Grand Slams when it takes place. If you put it together with Fed Cup for an organized, nationalistic team competition taking place in a central location for two weeks, I think that would be beneficial from a fan interest stand point, from a media stand point and from a television stand point.
My biggest thing I've learned is just putting time into getting ready. When we're young, you just go on the court and just hoop. But I think as you get older, it's more about, making sure everything is firing and making sure everything is ready to go and warmed up.
A painting can't be everything. You have to stop, at some point. It has to be finished, if you want anyone to see it. Some people just continue to work on things, forever. I don't know which is better.
I am sure it has been done with less, but you should be prepared to write and throw away a million words of finished material. By finished, I mean completed, done, ready to submit, and written as well as you know how at the time you wrote it. You may be ashamed of it later, but that's another story.
You know, a song is like a kid. You bring it up. And sometimes something you thought was going to be fantastic, by the time it's finished, is a bit of a disappointment...Beyond a certain point, the music isn't mine anymore. It's yours.
The choice that you really have is that you can go and work for TV which is so badly paid that you have to really churn them out which I think probably helps you develop certain muscles. I'm not sure though that you really want to have those muscles as a director.
It was like an explosion. You just don't get ready for it. I don't even know how you can, because you just don't expect it. For me, up until that point, you would do a gig, and then you'd go out and try to find the next job.
I've always felt that there's a point where a piece seems to be alive, that is, living. And that's the point where I know the composition is finished.
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