A Quote by Paul Rust

I try not to rely on pop culture references as a crutch for jokes, because then, I think, that's when the timelessness quality is lost. — © Paul Rust
I try not to rely on pop culture references as a crutch for jokes, because then, I think, that's when the timelessness quality is lost.
Probably I'm more of a fan of the literary references than the pop-culture references. But I do go to the pop-culture well quite frequently because people, I think, are sort of inherently ready to laugh at that. It's a free laugh almost. Usually, everybody gets it.
People always say I write a lot of pop culture references. Can somebody please count the pop culture references in 'Firefly?' Because I don't know how to put this to you, but there was one. I referenced The Beatles in the pilot.
There's something retro about the pop culture references in the paintings, so I'd imagine it's not as much a pop culture reference as a pop art reference.
It's hard to make a lot of pop culture references where there's no pop culture.
There might be an Easter egg in there that I'm missing [in Timeless], I'll have to look again, but there are pop culture references, for sure. There are a lot of references that you would only understand if you've seen the movie The Untouchables.
I realized, in removing or rewriting these jokes, that often the jokes weren't done or that I was using, for me, the curse words as kind of a crutch. So then I just started writing.
People constantly make pop-culture references. That's why it's called popular culture, because people are aware of it and reference it constantly.
A good cartoon is always good on two or three levels: surface physical comedy, some intellectual stuff - like Warner Brothers cartoons' pop-culture jokes, gas-rationing jokes during the war - and then the overall character appeal.
I put so much pop culture in my movies because we speak about pop culture all the time. But, for some reason, movies exist in a world where there's no pop culture.
Any artist who has that quality of timelessness has that quality because they tell the truth.
I'm not good at narrative; I'm really a gag writer, and that comes from being in the newspaper comic strip world for a while in college. What I do is I just write tons of jokes, then I sort them out in terms of quality and then pick the best of the jokes and then try to form them into a plot. If I get a good theme going, I feel lucky.
People are gonna think that MTV censored me, and they really didn't. I really wanted to try to make a show that didn't rely on offensive, edgy material because I think it was an exercise in trying to write without that. Because I see that as a crutch sometimes and I want to know that I can do something funny and worthwhile without that. And also make a show that my parents would like and that kids could watch with their parents.
For me, anything goes when I pick up a mike. I'm not trying to hurt people - I try not to get too personal - but I look at myself as a reporter. If you can report on anything that has to do with pop culture, then why can't I make jokes about it? Yes, it hurts. But I figure that laughter sometimes starts from pain. You might wince, but then I know that I'm doing my job. The only thing I can do wrong is not be funny.
Anything you rely on can become a crutch. And disabled or not, when you rely on something, that is what will cripple you.
That was something that I learned from Alan Ball from “Six Feet Under." He didn”t really like to have too many pop culture references because they don”t really hold up after a few years.
I’ve always thought that if comics are a part of pop culture [then] they should reflect pop culture, but a lot of the time comics, superhero comics especially, just feed on themselves. For me, comics should take from every bit of pop culture that they can; they’ve got the same DNA as music and film and TV and fashion and all of these things.
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