A Quote by Don Hertzfeldt
It's great for me to hear those different reactions because when I travel with a movie like this [World of Tommorow], it's very similar. You'll hear a line in one city get a big laugh, and then in another city, the same line kind of gets a gasp, and that's wonderful.
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The real challenge in acting is in comedy. It's easier to get that gasp in a drama. Not easy, because you still have to find that emotional pitch. And when you do something in drama and you hear that sob from the audience it's so fulfilling. But as a comic actor, when the laugh is supposed to come and you punch in that line and nothing happens it is dreadful. It's horrific and you feel like dying right there.
If you are approachable, if you keep your line of communication open, then very often, you get to hear what you need to hear.
When you look at a city, you know, it looks so unique. You feel this kind of uniqueness, you know, and especially if you go from a big city to a small city or if you go from one country to another. Cities look very different, often. They even feel very different. You know, and they are, of course. They certainly are.
I was born in Quebec City, I've lived there many years before moving to Montreal and then Ottawa. And I mean, Quebec City is a very, you know, closed city if I may say. So it's not easy to be accepted living in Quebec City. So if you're from a different faith, you may be a bit timid in showing your faith. So I mean, you're already from a different country, you're an immigrant and hearing what you hear about Islam, you might not wish to be identified as a Muslim, and you may be very discreet into your faith and going to the mosque.
In big movies, interests are not aligned between those above the line and the financier, because above the line gets paid whether the movie works or not. The financier only makes money if the movie works, and that fundamentally sets up a contentious relationship.
One thing I always really enjoyed about Quincy Jones' production technique was that there were so many layers to every song. Like, one week you'd hear a new trumpet-line, then the next week you'd hear - be hearing a new guitar-line.
David Zucker was great! Those guys are funny. I mean, they are funny. There's a wonderful thing about doing that kind of work like Superhero Movie: You have to be real, but you also have to get the laugh. There you are, your director and the producers are right there at the monitors, and you either get the laugh or you don't. And so you just do it until you get the laugh.
Chicago is a beautiful city. It's one of those places that people around the world see and say, 'Maybe one day.' There's so much excitement in the city about what you can accomplish and what you can be. We get this stigma, and rightfully so, because of the killings, but it's one of the best cities in the world. I'm biased, but I think it's a great city. Not only to be from, but to go to.
...what's always exciting is when you hear something amazing when you least expected it. Every now and then I'll hear something for the first time that forces me to re-examine my frames of reference, and re-consider musical parameters in general, and that's wonderful . And what's even more wonderful in a way, is when you hear something that you know, and already think you have an opinion about, and then suddenly discover that it isn't what you thought it was, but something quite different, which makes it just as surprising as if you'd never heard it before. That's REALLY great!
Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear. Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.
Hazel had read enough books to know that a line like this one is the line down which your life breaks in two. And you have to think very carefully about whether you want to cross it, because once you do it’s very hard to get back to the world you left behind. And sometimes you break a barrier that no one knew existed, and then everything you knew before crossing the line is gone. But sometimes you have a friend to rescue. And so you take a deep breath and then step over the line and into the darkness ahead.
for every person who's stepped out of line and lived to regret it, there are two people who stayed in line because they got their values mixed and lost their nerve, and who have lived to regret it still more. You don't hear about those people because they're still in line where they don't show.
I presume that each country will have a different response to each joke. But mostly what I've seen is that everyone has the same response. The line about: "He hasn't had this much fun since they burned all those kids at Waco..." I thought that might get a real.... it does in America, it gets a shock, as if they fall back in their seats, but then they still laugh.
You say a line and you wait for them to laugh, then you say another line and you wait... It felt weird to me. But it's interesting and the energy is almost like theatre, I suppose, with all the people there.
You say a line and you wait for them to laugh, then you say another line and you wait... It felt weird to me. But it's interesting and the energy is almost like theatre, I suppose, with all the people there
When I hear somebody like Hayes Carll write a song that's touching and poignant and sad and funny all at the same time, it motivates me to step my game up and try to figure out a way to get more different emotions into one line or one song.
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