A Quote by Judd Apatow
There's something so scary about trying out new material and being completely comfortable jumping into the abyss with a comedic idea.
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Fashion is an archetype: you're trying to build a silhouette, and that is very similar to building up a building because you're trying to create a new structure, a new proportion, a new shape, and you're using a material to cut which is a bit mathematical. That idea of finding something new in terms of proportion is something that drives me.
The idea of printing out something that's as scary as a tumor into its concrete form was something that spoke to me - there is something very liberating about that idea.
I’m attracted to the idea of drowning. Or rather the idea of jumping off and being enveloped by something, not bad or good, just enveloping.
When I was a kid, I had a moment when I got under the water, lying on the pool floor, and felt I could breathe. I’ve been trying to recreate that feeling ever since.
I come from a painting background, and although my painting is completely different from my performances, there is something about the fundamentals of that training that transfers over to this idea of an exercise and being diligent about mapping something out in advance - even if it is just being aesthetically diligent.
I'm interested in color belonging to something, where it takes on a completely new kind of vibrancy, rather than being what you would call straight abstract paintings. And anyway it is so much more exciting trying to find out about the three dimensions of color and sticking it down on a two dimensional surface.
The vitality of thought is in adventure. Idea's won't keep. Something must be done about them. When the idea is new, its custodians have fervour, live for it, and, if need be, die for it. Their inheritors receive the idea, perhaps now strong and successful, but without inheriting the fervour; so the idea settles down to a comfortable middle age, turns senile, and dies.
The Grand Prix Final is an opportunity for me to go out and experience new jumping passes in competition. I put in a triple loop-half loop-triple Salchow in the second of the program. It's a very difficult jumping pass so this is a chance for me to try out the new elements and the adjusted jumping layout to get prepared for nationals.
When you advance a frontier, you're doing something that no one has done before. Every time that happens, you have to innovate. You have to think in new ways that hadn't been thought before. You have to invent a new piece of hardware, a new concept, a new law of physics, a new material, a new construction material to enable you to accomplish what it is that you chose to reach for by dreaming about tomorrow.
But when you're in front of an audience and you make them laugh at a new idea, you're guiding the whole being for the moment. No one is ever more him/herself than when they really laugh. Their defenses are down. It's very Zen-like, that moment. They are completely open, completely themselves when that message hits the brain and the laugh begins. That's when new ideas can be implanted. If a new idea slips in at that moment, it has a chance to grow.
I can't imagine making something that is made only to be scary. For me, the darkness and scary material has to have meaning attached to it, or I can't invest the time and energy it takes to write and script or make a movie. It has to mean something.
I feel more comfortable writing firmly comedic or slightly comedic stuff.
I came to L.A. for pilot season, and it was so brutal. So brutal. But still, I just want to be making forward progress. There's lots of ideas about being a superstar. But my idea of being a superstar is just going forward and having new challenges and trying out new things.
I'm a comedic actor, not to mix words, but it's something I think about. A comedic actor. I like to think that Christopher Guest, Phil Hartman, Peter Sellers and Alec Guinness are comedic actors. And Dan Aykroyd, too. Those are my heroes.
I think when you're really passionate about something, and maybe not every person is like this, but I think there's a large group that feels deep inside, I want something different, I want something more, I want to go on my own path. It's being comfortable being uncomfortable. Because to do that, you're going to have to jump outside of the comfort zone and it isn't going to be perfect. It's going to be scary. And to me, that's when great things happen.
Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.
I've never gotten over what they call stagefright. I go through it every show. I'm pretty concerned, I'm pretty much thinking about the show. I never get completely comfortable with it, and I don't let the people around me get comfortable with it, in that I remind them that it's a new crowd out there, it's a new audience, and they haven't seen us before. So it's got to be like the first time we go on.
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