A Quote by Tom DeLonge
The Angels shows are really intense. We play for a couple hours at a time. They're very theatrical and full of audience interaction and emotion. I've seen a lot of people crying and stuff. It's a little bit like church, but it's very secular.
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I did not grow up watching much TV and film. I had a very, very, very, very, very, very church family, and a lot of, like, secular stuff was not around my house.
I'm very interested in trying to make comedy shows that are a bit bigger, more theatrical, more of a "show." Some people might say I'm trying too hard, but that's a compliment to me. I like to inject a bit of production value and flair to comedy, or at least to my little corner of comedy.
The world of politics is divided between people who are introverts - who lose a little bit of energy out of each interaction they have so that by the time the day ends, after 1,000 interactions, they're exhausted - and people like Bill Clinton who are extroverted - who get a little bit of energy from each interaction.
There were radio shows where you actually got to hear people play off of each other and get that immediate magic that goes on. And rather than doing what a lot of shows do, where an individual comes in, reads their part, and you edit it together later on and try to build a performance, we're lucky because this is really very much a theatrical performance that is going on, every single week.
The really cool thing about festivals is that you're getting to play in front of a whole lot of people who have never heard of us before. That's exciting. At the same time, it's a little bit of a challenge to capture the attention of people who have already seen a lot of bands.
A big reason why we were able to and have been able to continue to succeed is that we had a very intense work ethic, right from the beginning. There was a do-or-die attitude toward the work. It wasn't seen as a little "club." It was like, "This is your life." We would spend hours and hours rehearsing and endlessly rewriting. We took it very seriously right off the bat. And we were also extremely critical of each other, which was another thing that was unique. A lot of comedy ensembles have a hard time being critical of each other, because they don't want to hurt each other's feelings.
In TV, and in particular in commercials, you don't really need to explain very much at all - you just say he's a spy and he's a little bit theatrical and overblown and smug and he's not very good at his job.
Our church was a very spiritual church, and we were a very chosen people. The body was small, but the spirit was intense and very evident to anyone who passed by or came in.
Let's be honest, you and I have probably seen a whole lot of family films - you have to do something special. Jim Strouse has the ability to write this hairpin turn between emotion and comedy that is very real. In real life, you don't have time to prepare for the bad stuff and you don't have time to prepare for the good stuff, it just sort of happens.
Now we're in a recession, and at war, so people want to see this chihuahua movie, The Fountain. To be told to come to terms with death, that death is the road to all - it's a very intense subject. But as with movies that are very unusual, that have come to be thought of as very interesting, one finds out at the time that they were not understood. So who knows? We'll see. A lot of people really, really loved it, and a lot of people didn't get it.
I think that it is very interesting to write about a team because a team is a group of people who work in very close quarters and have very intense relationships so - in my days of playing sports, I was very rarely on a team that did not have it's own peculiar dynamic, and you wind up having very intense feelings for good and for bad about these people with whom you spend many hours a day.
That's very, very important to me, to give another narrative. And Netflix has not been afraid of doing that, as we see from the plethora of shows that they have, from British shows to American shows like 'Master of None,' which I've been very grateful to be on, too. Just giving platforms to people who haven't seen themselves on TV.
People drive everywhere in L.A., so you get very little human interaction... but N.Y. and Chicago are like London... L.A. lacks the social interaction.
It's a little bit odd. The first time you do the play, you kind of throw yourself into it, trying to get the most out of all the individual moments. Then, a few hours later, you're still there, wondering what you could possibly do differently than what you just did a couple hours ago.
My audience is made up of two groups of people. The first group includes people whose roots are deep in the Christian faith, but for whom the traditional symbols, as traditionally understood, no longer make sense. The other audience is the audience that has left. I call them the Church Alumni Association, citizens of the secular city. They are a bit nostalgic about this faith of their childhood, but they aren't really interested in trotting it out or becoming involved with it again as it is presently organized.
I still feel very close to the people I wrote shows with and some of the people I toured with. I feel very close to them, like a family or like college friends who you know and who have seen you at your worst and you spend 14 hours driving a van all piled on top of each other.
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