A Quote by Judd Apatow
If you watch the arcs of so many comedians, at some point, they just become themselves.
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I'm a dreamer. I watch people. You don't try to become them because you could never become any of those guys. But you hope that some of it, you know, comes off on you at some point in your show, some point in your writing, that it happens to you and this light just shines on you.
Even a brief interaction can change the way people think about themselves, their leaders, and the future. Each of those many connections you make has the potential to become a high point or a low point in someone's day.
Bypasses are devices that allow some people to dash from point A to point B very fast while other people dash from point B to point A very fast. People living at point C, being a point directly in between, are often given to wonder what's so great about point A that so many people from point B are so keen to get there and what's so great about point B that so many people from point A are so keen to get there. They often wish that people would just once and for all work out where the hell they wanted to be.
Some street jokes are just timeless. There's an old street joke about comedians. The joke is that a beautiful girl comes up to a comedian at the end of the night and says, "I saw your show tonight, and I just loved it. I want to go home with you, and I'll do anything you want." And the comedian says, "Were you at the 7 or the 9?" That's just a perfect joke, because it points out how egomaniacal and obsessive comedians are. Even though I'm not waiting for a groupie, I can completely understand it. It just defines how comedians are driven.
'2 Dope Queens,' it was just a way for us to showcase female comedians, showcase comedians of color, showcase LGBT comedians, and shake up the landscape and be like, 'Hey, there is more than just what is out there.'
I'm friends with a lot of comedians, but we don't talk about material. Most comedians I know don't watch a lot of other comedy.
I know for myself, every now and again on HBO, they'll show some of the young comedian specials from the '80s and early '90s, and it's just fascinating to watch those comedians - some of whom are people that are world-famous, like Chris Rock or Judd Apatow - to see the jokes that people had, but also, the way everything looked.
Some performers are brilliant comedians, some are genius musicians, and some just make you happy to be alive. THE BOBS are all of that - and then some.
I think what's fun about the Western genre is the character arcs are very strong and, arguably, more interesting and exciting than the action that is metaphorically representational of those arcs.
I have some friends who are comedians but not many.
It's like cooks don't watch cooking programmes - I suppose maybe comedians don't watch comedy shows.
The key is that I'm always relevant. Some of these comedians have nothing to say. They don't have any ideas so it's "F" this and "F" that. They give you a whole series of swear words and it's really just a way for them to get themselves out of trouble when they can't come up with anything. They're irrelevant and ridiculous.
Based on a lifetime of observations and a few decades in the markets, I understand that societies, beliefs and fashions all move in long arcs of time. We call these arcs several things: cycles, periods, eras.
I try to stay with it and I try to stay in contact with comedians and just keep comedians in my life 'cause comedians are their own species. If you get away from them, especially as a comedian, I think it's dangerous.
There is no inherent awakening power in cultural forms that have become dissociated from the wisdom and practicality that gave birth to them. They turn into illusions themselves and become part of the drama of religious culture. Although they can make us happy temporarily, they can't free us from suffering, so at some point, they become a source of disappointment and discouragement. Eventually, these forms may inspire nothing more than resistance to their authority.
Although I had good hand-eye coordination, I was so tall and skinny and muscularly weak that I just was not well coordinated. But what I started to do quite early on was watch some of the great old silent comedians, like Laurel and Hardy and Chaplin, and then later on Harold Lloyd and Buster Keaton.
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