A Quote by Simon Pegg
I think that the joke and the ghost story both have a similar set up in that you kind of set something up and pay it off with a laugh or a scare.
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When we're on set, we kind of joke around, and when we're rehearsing, we change up the scenes and make each other laugh. We lighten up the mood. The blooper reel is going to be amazing on 'New Moon.'
When you people have a set up joke and the joke is set up straight and the words are just well written, I always say "C'mon, humans don't speak that way."
I think that it's really important to step back and to take breaks as a digital creator because every other kind of platform is kind of set up to have seasons or time off or at least a barrier between creator and consumer. You have these set-up boundaries.
The truth of it is when you get an audience to laugh and camp along with you, it's much easier to scare 'em again because they're using two sides of their emotions. It's much easier to set them up for a good cheap thrill scare again.
When you audition for something, and you book it, you think, 'Okay, well, I got the job, and now I actually have to show up on set and do it.' So, you show up on set, and you don't know, 'Am I going to get swallowed up by these people?'
I think it would be self-indulgent to go, "Oh, I'm going to make this character different by giving him a quirk of some kind." I don't think that serves the story, particularly. But even very similar scenes with a different set of actors, a different set of circumstances, it starts to evolve as a different character.
One easy mistake to make with the first novel is to expand the short story. Some things are better as a story; you cannot dilute things into a novel. I think the first hundred pages of a novel are very important. That's where you set things up: the world, the characters. Once you've set that up, it'll be much easier.
When I was working with Barry Sonnenfeld, I'd watch him set up a shot and talk to him about what he was seeing and what it was to shoot comedy. He told me that a lot of times with comedy, it's not just about getting the joke, but getting a reaction to the joke. That's the laugh - it's somebody's else's reaction to the joke.
Some people kind of get lost in what everyone else is doing and not pay attention to themselves, and I think I'm one where I pay attention to myself and can set the example for the people coming up.
In the 1930s and the 1940s, we set up the FHA. We set up the Home Owners' Loan Corporation. We set up specific bureaus to make our communities look the way they look.
So you set out to travel to Rome... and end up in Istanbul. You set off for Japan... and you end up on a train across Siberia. The journey, not the destination, becomes a source of wonder.
Like everybody, I started out doing 'bringer' shows - the kind where if you show up with a certain number of people, you get to perform. Sometimes I would actually pay strangers off the street to come in and see my set.
'The Ecologist' has lost money from the day it was launched in 1970, and will continue until the last edition is printed. It was never set up as a business venture. It was set up as a campaign, and like all good campaigns, it costs. Its various backers have, over the years, been happy to pay that cost.
If you're gonna tell a story from beginning to end, I always think you have to have a great structure in a script. If it gets you excited and it's something you've never read before that's another plus. I think also with improv and that whole world of stand-up, that's a whole other organism of comedy that still needs a story, but it's more free-form. On the set, it is the combination of both those worlds coming together: a great script and an allowance to play with it.
If you set your story in Rome, Ireland or Sheboygan, for that matter, go there. If you're broke, set it in the town where you live, or where you grew up.
We're trying to set up a movie for me in the near future. It's going to be similar to the story of how I got discovered. Kinda like my own version of '8 Mile.'
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