A Quote by Paul Rust
A lot of the time, a comedy script is just dialogue, and that's the main thing you have to worry about.
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BoJack especially is a very dialogue based show. A lot of the comedy comes from conversations, and a lot of story comes from misunderstandings and people trying to connect with each other, and there was a really interesting challenge trying to write a script with no dialogue.
Every time I do a movie, I'm reading the script, or if it's something I have coming up, I'm reading the script, and I just spend hours and hours and days and weeks and months going over the script and just writing a lot of different ideas down, finding a little dialogue or just coming up with ideas for scenes and moments and all that kind of stuff.
When I'm working, it's just about doing the best I can with whatever dialogue is in front of me today. You can't worry about the other thing.
I don't worry about protein. I don't worry about all that. I'm from old school. I grew up in south Georgia. They didn't worry about cholesterol or protein. They went out and worked and lived a long time, so I don't put a lot of worries in my mind. I just get it done.
The funny thing about The West Wing is - and I don't know what Aaron Sorkin says about it - but I'm convinced it was a comedy. It's a very intellectual and cerebral comedy, but it was SportsNight in the White House. It had an energy and a vitality and an intelligence and a passion that's rare. And it was extremely difficult to do, because they were so demanding about the dialogue.
People generally worry about social networking more than they need to. In kind of consumer internet investing and on social and professional networks, I kind of look at time spending and time efficiency. You know, time saving sites. So on time spending sites, things where you play lots of games or that sort of thing, you might worry about a productivity loss if people are spending a lot of time doing that. So if there's a lot of kind of addictive gaming going on during work hours, that won't be as helpful to you.
If there is something to worry about, my mind has a tendency to worry about it. That can cut two ways. It can really keep you on the ball, but if you worry about every little thing, it's not a good use of time and energy.
If I could go back and talk to the me who was just starting to do comedy, I would have told myself to relax and not worry about things happening right away. That's a mistake a lot of people make - they think a year is a long time and it's really not.
When I'm writing a script, I don't worry about plot as much as I do about people. I get to know the main characters - what they need, what they want, what they should do. That's what gets the story going. You can't just have action, you've got to find out what the characters want. And then they must grow, they must go somewhere.
Every time I think about writing, comedy doesn't interest me in the slightest. I can play comedy, but I don't think in terms of comic dialogue.
I don't worry about protein. I don't worry about all that. I'm from old school. I grew up in south Georgia. They didn't worry about cholesterol or protein. They went out and worked and lived a long time, so I don't put a lot of worries in my mind.
With any mannerisms or dialogue, you have to be careful you're not just serving yourself. What happens with improving is a lot of times, if you're not in the framework of the script, you're just making everything easier so it fits you.
Comedy completely depends on the script and the type of dialogues we get. Comedy is dependent on time and so I will say comedy is tougher than being a villain.
I don't know what to do with it. I'm very fortunate to have it, and it gives you room to maneuver. But the main thing about having money is it means you don't have to worry about it. And that for me is a lovely thing. It's not for fast cars and hookers.
The way you write dialogue is the same whether you're writing for movies or TV or games. We use movie scriptwriting software to write the screenplays for our games, but naturally we have things in the script that you would never have in a movie script -- different branches and optional dialogue, for example. But still, when it comes to storytelling and dialogue, they are very much the same.
In television you don't have a lot of time to spend with the role or the script. Typically you get a script a week prior to shooting. Sometimes it's even less time, not enough time to dream about the role.
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