A Quote by Raphael Bob-Waksberg
It's much easier for me to think in terms of character movement and emotion and story rather than, 'What are some wacky hijinks we can throw together?'
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I am a very emotional person. I basically think and feel in emotion, so writing is much easier for me than communicating by voice or by talking to somebody just because I can really get into the emotion more succinctly with writing. So I guess that's what makes me a better writer than speaker.
A lot of my comedy isn't necessarily about specific jokes but rather a wacky point of view that a super wacky character has.
My favorite kinds of stories are the ones that have these big crazy genre hijinks and then a real honest, meaty, emotional story where we're watching a character grapple with some real things.
I start every first draft with voice rather than theme or image or even character as such, so it isn't like I'm ever rubbing my hands, cackling, "The dad is really going to take it on the chin in this one!" Not in terms of any given story, and certainly not in terms of the collection as a whole.
I think people are a mixture of everything. I like desperate characters because they do things that most of us normally wouldn't do. If a character is a scoundrel or a liar you think you know them, but then I can bring some emotion to them and they become much fuller than you ever imagined. So what I try to do is have a story where you don't quite know where it's going, and characters who you don't quite know where they're going.
You need to keep everyone wanting more. Every character has so much depth, and there was so much thought that went into it, but it would've taken away at some point from the main story, and everything I think kind of was woven together really beautifully, so that you cared about everyone, and everyone had their own story, but everything helped the main plotline.
The craft of putting together a performance on film or television is incredibly intricate; you're putting together a story that is completely out of order, that you have to make some sense of, that you have to keep some coherence to the story, to the character.
If the right opportunity came along, maybe, but I'm more focused on trying to create a TV show where I can be myself, rather than playing a wacky neighbor. Although, I would gladly play a wacky neighbor of any sort.
Since I've had some success, story and character are always the two elements I think about first in material presented to me. Some of my choices have been more successful than others.
I don't really think in terms of genre, I think in terms of story and character.
I'm the one who has to have everybody throw rocks at me all the time, so at least if they're going to throw rocks at me, they're going to throw rocks at me for something I love rather than something I think is not very good, or at least something I think is not finished.
It is much easier to be flexible about where a story begins than it ever was for me to change my mind about where and how a story ended.
Puff is more of a mentor rather than someone who's directly involved in my movement or helping me put my album together. It's not like me and him party together. He's definitely more of, like, a mentor.
A dream inspiring a story is different than placing a description of a dream in a story. When you describe a character's dream, it has to be sharper than reality in some way, and more meaningful. It has to somehow speak to plot, character, and all the rest. If you're writing something fantastical, it can be a really deadly choice because your story already has elements that can seem dreamlike.
And with the Occupy Movement, it's really ironic how the police come as representatives and enforcers of the powers that be, even though the people in the Occupy Movement are really on their side - not in terms of their behavior, but in terms of their economic status, in terms of who the police are in society and how much they're paid, and if you boil it down to the economics of it, the police should be out there marching with the Occupy Movement.
I get very tired of books that feel emotionally empty. I would much rather have writers err on the side of being overly sentimental than not. I think that the perfect balance is a story that moves you without being maudlin, but I don't enjoy books that are empty of emotion and there's no connection to the characters.
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