Posts tagged Comedy
Posts tagged Comedy
“Tina is a very hard worker. She set a goal and then she reached it.” - Jimmy Fallon
"Herman The German…" -Colin Quinn
"She’s a sprite with a Rommel battle plan.[…] Her true vice is cupcakes.”(Vanity Fair, 2009)
“Tina is not clay. When she got [at SNL she was kind of goofy-looking, but everyone had a crush on her because she was so funny and bitingly mean. How did she go from ugly duckling into swan? It’s the Leni Riefenstahl in her. She has such a German work ethic even though she’s half Greek. It’s superhuman, the German thing of ‘This will happen and I am going to make this happen.’ It’s just sheer force of will.” - Lorne Michaels
"[She is self-depreciating.] She’ll always see herself as that other, the thing she came from.” - Kay Cannon
“Rules are Tina’s Achilles’ heel in some ways. She’s half German, half Greek. That is just like loosey-goosey-crazy, and then you get, ‘Do the trains run on time?’ And she has her principles and she sticks to her principles more than anybody I’ve ever met in my life. Like that whole idea of, if you are in a relationship, there are deal breakers. There’s not a lot of gray area in being flirty with somebody. She’s very black-and-white: ‘We’re married—you can’t.’” - Jeff Richmond
“Deep talent, deep humor. She just floors me. Funny stuff comes out of her mouth so effortlessly in response to some mundane remark someone makes. Nothing changes on her face when she lets loose with these one-liners.[…] And with all that gift, Tina, off camera, is quite shy and I get shy around her.” - Jane Fonda
"She is just totally her own person and self-possessed, and just kind of straight-on. I just liked her because she has an intelligent sensibility, and she doesn’t compromise it. She’s exceptional. " - Lily Tomlin
"Tina Fey smells like Apples and Brilliance." - Bobby Moynihan.
"I’m still the kind of person, if I see someone cutting in line, it’s like, excuse me, what are you doing? I’ll get in a fight in, like, the Easy Spirit on the Upper West Side, on someone’s behalf. "
“I want to keep creating comedy that is, as my old improv teacher would say, at the top of our intelligence or higher. It’s easy to fall into the trap of just cranking out things that are good enough to sell.”
i love the 30 rock jokes that are specifically for losers who’ve taken improv classes
This is, HANDS DOWN, my favorite 30 Rock moment.
This is one of the single most important statements made about how to direct a comedy. I am not exaggerating. Shittier comedy directors focus on closeups, so you can see actors make silly faces. Great directors use more wide shots, so you can feel how everyone reacts.(via curtisretherford)
Harold Ramis (via The Comic’s Comic)
Last night I went to the UCB Lady Jam for the first time in probably a year. I somehow found myself awake and with energy enough to stay up past midnight for the show, so I went with a couple of friends.
For the last several months, probably since I started my La Ronde class at The Magnet, improv has felt easy. Or maybe I should say it hasn’t felt hard. I was enjoying the form and my classmates. I didn’t feel preoccupied with any thoughts other than the desire to have fun and to push myself and expand my range of characters and play. For the most part, I think I succeeded and I got some great feedback from Rick Andrews, who hasn’t seen me play since I took his level 1 class over a year ago.
But last night, I found myself thinking things that took me away from the focus of having fun. I was worried about not fucking up in front of the audience and wanting to make smart moves to stand out and look good. I felt rail-roaded at certain times, while I was busy trying to find a more patient way to heighten or make moves. I felt a little lost. I hated my moves. It was maybe a 10-minute set, but it felt like it went by so quickly, before I could get my bearings and feel settled. And I get that a jam is a different animal - it’s often faster play. People are more aggressive and the emphasis is more on game moves. I’ve done jams where I felt like an asshole for being aggressive. This time I felt like a lamb, just trying to get through the set without fading away.
I made a move at one point that immediately felt like a negation or like I was undermining or calling another improviser out. I did not like my play. I can chalk it up to it being a long day (I ended up being awake for 20 hours, which is unusual for me). I could blame it on a rough week emotionally for me. I traced back the start of these feelings to the practice I had days earlier where working on game stuff put me back in my head and took me away from the fun.
Maybe I’m just in one of those waves that we all go through where improv just isn’t working or making sense to me right now. Maybe I’ve sat too long in a bull market and I’m heading into a bear market?
Then I read the post I reblogged from Sarah Rainone (see below this one), which was a lovely post about why we do improv. It’s about supporting your partner and making them look good. It’s about genuinely making human connection and quickly without thought or pretext. And it’s the reminder I needed for why I continue to do improv. Prior to the Lady Jam last night, I saw a great Monoscene class show with a bunch of people I know. I was impressed at how much fun they seemed to have, how big their choices were, how much they committed to what they were doing and how they supported each other. At the practice where I felt a little mentally strained, I was playing with some improvisers I only recently met, but with whom I’m having a blast improvising. And outside of improv - and this isn’t a profound anecdotal point, but it feels important to me nonetheless - I’m using my improv training to feel comfortable talking and flirting with someone I would never ordinarily have the courage to chat up.
Improv has given me so much and made my life better in innumerable ways. Who cares if I have a bad show? Why harp on not getting into that class I wanted or failing to impress the audience or beating myself up for not showing off? Why am I even worried about trying to show off? Why can’t I just refocus myself on being good and continuing to improve?
I just applied to be a Magnet Big Sibling because working with younger improvisers and helping to create a supportive space for them to play and experiment and grow is what I think I need right now. Getting to coach some great people has revitalized my improv perspective. Maybe being a Big Sib will help re-adjust my attitude again and clarify why I continue to do this.
"The Harold, Montage, La Ronde, Deconstruction, Eventé, Eventé ala Roo Ro, Movie, Documentary, Monoscene, Microscene, Slacker, Kromf, Spokane, Onion, DThe Sleepover, Ladder, Flux Capacitor ie Tracers, Improvised Play, McManus, The Bat, French Harold, Harold Til Bored, Organic Harold, fwand-y Harold, Artificially Flavored Harold, Dearly Departed, The Fugue, The Wait, The Weight, The Way, Bookclub, Season Finale, Hot Tamale, The Burrito, Exploding Dinosaur Pillow Fight, The Chimichanga, Flautas, Whatever, Six Ferrets And A Can Of Worms, Knicker-Knock, and The Flibbity Fibbit. Those are the basic ones.”