A Quote by Simone Giertz

Programming is a pretty tricky thing to start learning. You need to combine it with comedy to get a wider audience. — © Simone Giertz
Programming is a pretty tricky thing to start learning. You need to combine it with comedy to get a wider audience.
I think that great programming is not all that dissimilar to great art. Once you start thinking in concepts of programming it makes you a better person...as does learning a foreign language, as does learning math, as does learning how to read.
I think the most important thing about learning comedy is to start from who you are. If you begin the process by imitating what you perceive to be a comedy rhythm, you will get laughs sooner, but you will not be unique.
Most of what's tricky about comedy is the perception of it and the audience's expectation.
'Hedwig' was pretty much all the things I wanted to do that other people said I probably shouldn't do: drag, punk rock, stand-up comedy... You know, combine them all in a thing that's supremely uncommercial from the objective point of view.
You have to assume that you're talking to the most intelligent, tuned-in audience you could ever get. That's the way you're going to get the best out of people. Whether they know you or not shouldn't matter for comedy. They should get to know you pretty quickly. and they should be having a good time pretty quickly.
Drama or comedy programming is still the surest way for advertisers to reach a mass audience. Once that changes, all bets are off.
With the Tonys it's a little tricky because a lot of the funnier jokes are more insider, so people watching at home may not get a Julie Taymor reference the way that New Yorkers would. So you have to figure out what comedy plays to a large audience and still respect the individuals who are there.
I think it's great training for any comedian to start on cows. Because with cows, you expect them to be bored and just stare at you blankly. And that's exactly what you'll get at a comedy club. If you can toughen up with a cow audience, then you'll never be worried with a human audience.
The way I approach any role, whether it's comedy or drama, I like to look for the truth first. I think comedy for the sake of comedy wears dull pretty quickly. You have to ground the character in reality first and allow the audience to sympathize, emphasize and be more invested.
My brain has always been wired in such a way that I'd rather communicate to a smaller audience who really get turned on by what I do than meet a wider audience and give them milk.
You're always learning on different avenues and this is an opportunity for me to start on a fresh plate and start learning some other things that can really help me, that I need, and I want, to progress forward.
Coming in, you're so concerned about learning your job and the things you need to do to be successful individually. Once that's good, you can start to focus on learning guys around you and learning defenses and what they're trying to do to you.
The thing about stand-ups is you can't really get good unless you're failing in front of a large number of people. That makes stand-up comedy unique: you need a tremendous amount of reserve within you to take the rejection from the audience, and without it, you can't do anything.
Comedy can be more difficult than drama. It requires more attention to timing. In the theater, you're always dependent on the audience for the energy, but in comedy the feedback you get is more important. You can judge by the quickness and the length of the laugh just where you stand with the audience.
Developers need to start moving away from the entitled macho-male power fantasy in their games. They need to recognize that there are wider stories that they can tell.
I found doing that kind of comedy without an audience is just... for me, it's almost impossible. You need the audience to do their half of the work.
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