A Quote by Martine Syms
I think the sitcom is the format for television. It's the essential form, and it represents more of the canon of TV, which is why I latched onto it.
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Black Books adheres to a more old fashioned, traditional sitcom format, which I think works, because in its own way, it's quite theatrical.
I think I'm better wired for television. I love variety as far as a project. I'm easily bored and the schedule of a television show, it just keeps you going. I love theater and I think doing a sitcom in front of a live audience is the closest you can get to theater, and it's really the best mix of like standup and theater, is really a sitcom. I started as a standup and I still continue to do that as well, so I think I'm just a TV guy and happy for it. I think my movie career is kind of like my social life, I'm picky and not in demand. So it perhaps is working out.
I don't want to do television. A TV show sitcom? I don't even watch TV.
We were always in church, and always singing, so once I realized that music was something that I had a knack for, I sort of latched onto it, and it helped give me an identity and figure out who I was as a person. It informed my way into theater, which informed my way into television.
With pop music, the format dictates the form to a big degree. Just think of the pop single. It has endured as a form even in the download age because bands conform to a strict format, and work, often very productively, within the parameters.
Every time you jump to another format in the 'picture business,' meaning film, television, commercials, the people in the other format go, 'Ah, yeah, you made a lot of features, but you don't know how to do TV' or the commercial people go, 'Oh, you can't do 30 seconds.'
After meeting the family, they really felt like a sitcom family, ... I thought it would be cool if we did a reality show, but told it with the visual language of a sitcom format.
Remember: TV is a format, film is a format, and books are a format.
I always think of albums as the format. I think it's perfect. I don't think you can tamper with that. It's not just sound, the analog, which is so much richer. It's the format. You're constrained by just 45 minutes, and it's perfect to me. I don't want to listen to any more than, and I live and breathe music.
I love working in television and in comedy, so whenever there's an opportunity to work on a TV sitcom, I'm like, 'Yes please!'
TV, that's the ultimate goal. I hope to bring what I am doing now to a weekly television format.
After three years in L.A., I began to dream of my glory days on the boards. But it's very difficult to make a living as a theater actor in New York, which is why I moved out here, and I always had an ambition to work in television. I am a great admirer of the format, and I think it's how we tell long stories.
That's one of the real downfalls of celebrity. You're something that's about you at some point, and that gets latched onto and pumped into the machinery. Then you start having a million other people telling you who you are, and what you should be doing and why, and it's easy to lose your way.
One of the reasons why I think virtual reality, as a narrative format, is never going to go beyond the short-form immersion space is because the bedrock of visual storytelling is the reverse angle. If you can't look into the eyes of the protagonist, you cannot hold people's attention for more than 15 minutes.
I made my first mix tape when I was 14. I used to play basketball and ride bikes, but I think I just latched onto music because I figured I could be really good at it on my own.
The propensity to intellectualize is itself both essential and dangerous. I think in our modern world we are much more aware of its essential character than of its dangers, and that is why I think of it as being an expression of transcendence.
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