Some interesting Joe Rogan podcasts with Neal Brennan: #443, #131, and #114. In that last one, Brennan rants about how Hollywood seduces talented people into making crap.
It's funny. You do good work or personal work and then they'll go – like I always used to say to Chappelle and Mos Def after we'd do a sketch I'd be like, "Fellas, that was a great sketch. Hollywood called and they want you to play cops!" Hollywood calls and then you're upgraded into some shit that you didn't want in the first place but you're so [taken with] awards shows and shit like E! and Entertainment Tonight. It brainwashes you into thinking, "That Hollywood is valuable." And you just walk like a zombie toward Hollywood and go, "Where do I stand? Here?"
Today’s episode is an interview with Matt Ruby. Matt is a stand-up comedian who has a successful series on the web at Vooza.com. It’s a sketch comedy show lampooning the tech/startup/business world and I think it’s very funny because I work in a corporate sector of the technology world at my day job. You won’t need to be part of that world to enjoy today’s episode though as Matt and I talk about his starting in a band in the early 2000s and getting his start in stand-up comedy and how that all lead to his current project Vooza and then his latest project taking shots at the club scene.
Great interview with Dave Attell by Aisha Tyler. He talks about his first road gig with Sandler, bombing for years, day jobs, etc. Nice deep dive. (via MN)
A lot of new comics who have honed their set they think and they don't lock into the crowd. They don't read the crowd. I look at the crowd. I'll always go, "What's the crowd like?" And all these people are like, "Does it matter? You're just gonna do your set." Well, it matters to me because if I do a Klan joke and there's a guy out there who's a skinhead, I don't think he's gonna like it. Sometimes these jokes might help your set, sometimes they might save your life.
We live in the safest place in the safest time ever in the history of the planet. No one's ever had it this good. And yet our society is constantly afraid. We want to feel fear so badly that we invent things to be afraid of (see ISIS, Ebola, etc.). And the powers that be know fear is the last/best way to manipulate people.
We should look at who profits from this fear:
-the media ("tell us what to be scared of!")
-the pharmaceutical companies ("give me pills for my anxiety!")
-the military-industrial complex ("make weapons to scare the bad men!")
-the police ("have some of the extra military weapons to scare local bad men!")
-the people who are actually doing evil things and getting away with it ("I don't listen to Elizabeth Warren because hackers/school shootings/whatever!")
Just imagine trying to explain to someone who lived 100 years ago or earlier about how scared we are today. They'd let ya know that when it comes to danger, murder, disease, and the rest of it, modern day Americans have no idea just how good we've got it. We should be celebrating our lucky existence instead of incessantly cocooning ourselves in fear and negativity.
Same person last month: "I'm offended by that thing you wrote..."
Actually, the whole raison d'etre of Charlie Hebdo was to offend people and show that nothing is sacred. So if you've ever called something offensive, tasteless, obscene, or inappropriate, tu n'es pas Charlie.
Every "that crossed the line" zealot has a Prophet Mohammed. Your Prophet Mohammed may be 9/11, catcalling, AIDS, rape, gay rights, anti-Semitism, Asians, the n-word, the c-word, or the some-other-letter-word. But all that shit deserves to be made fun of too because, y'know, everything deserves that.
If you really want to show #JeSuisCharlie, let someone mock the thing you believe in most – for me, that's pretentious blog posts that hijack a tragedy in order to further one's own personal agenda while also showing off a superficial knowledge of French along the way. C'est la vie!
The Economics of Internet Comedy Videos (Splitsider) is a good look at making money off of videos. My experience with Vooza echoes this: "Branded content funds more than you think. YouTube revenue funds less than you think. Comedy studios, like everyone else, earn money so they can fund passion projects." If you've got any questions about similar stuff, feel free to shoot me an email about it or post a comment.
Those Sony hackers aren't actually going to pull off another 9/11. Breaking Bad fanboys aren't actually going to murder Skyler White. Despite his profile, that guy's profession is not actually "Standup Comedian." And no one is actually laughing at loud at his pun. That girl's photos are not actually "gorgeous." And using a hashtag does not actually make someone an activist. Most of our "Friends" on Facebook are actually strangers. No tweet is actually our "Favorite" because when you say everything is your favorite thing then nothing is your favorite thing. And if we're all so "connected," why do we all feel so damn lonely? We need to stop pretending this fantasy world is real life. It's catfish all the way down. OK, hope you "Like" this post!
My 2014 Capture Your Flag interview series is live. It's part of a series where I answer questions every year about my comedy activities. This year, there's lots of talk about Vooza and our process behind the show. There are 19 videos in all. For example:
“My research shows that charismatic leaders of any type in any culture tend to stretch their voice to the lower and higher limits during a public speech, which is the most important and risky context of communication for leadership,” he said.
These leaders adopted an entirely different tone when speaking to other high-ranking politicos or when the subject strayed from political topics. “They stretch their voice less when they speak to other leaders, keeping the vocal pitch very low. They stretch the voice limits even less when they speak about nonpolitical topics,” Dr. Signorello said.
Read that and instantly thought about Bill Burr going up high.
This was fun. Interview that's both in character and out about Vooza. Viva split personality! "On this episode, I interview both Matthew Stillman, the CEO of the fictitious Vooza and Matt Ruby, the standup comedian and tech startup veteran behind Vooza and we try to get to the bottom of all this. This episode might not make you rich, but it will make you laugh."
When Frank Rich asked Chris Rock about how he develops his comedy, he replied, “I’ve always said, ‘okay, what’s the angle no one’s talking about? And what if the thing that everybody’s talking about is wrong?’” Rich asked for an example. Rock responded: “Bullying.” Couple other intriguing clips:
I know that it’s Miller who first introduced you to Robin Williams. What did you make of his tragic end?
Comedians kill themselves. Talk to 100 comedians this week, everybody knows somebody who killed themselves. I mean, we always say ignorance is bliss. Well, if so, what’s the opposite? Some form of misery. Being a comedian, 80 percent of the job is just you notice shit, which is a trait of schizophrenics too. You notice things people don’t notice.
When you’re looking for subjects, do you go with your gut?
You keep notes. You look for the recurring. What’s not going away? Boy, this police-brutality thing—it seems to be lingering. What’s going to happen here? You don’t even have the joke, you just say, “Okay, what’s the new angle that makes me not sound like a preacher?” Forget being a comedian, just act like a reporter. What’s the question that hasn’t been asked? How come white kids don’t get shot? Have you ever watched television and seen some white kid get shot by accident?
And out of that comes comedy.
Comes humor. You laughed right away. I just asked a question that no one had ever asked.
A Vooza fan wrote in with questions about the show. Here are my answers.
How many people do you have working at Vooza?
I am the only full time person working on Vooza. (There's actually a parent company called Fort Pelican since we'll be coming out with other shows in the future.) There are about 8 or so members of the cast although that shifts with new people coming on (recent additions: Data Analyst and Support Rep) and others fading out, usually because of actor unavailability (moving to LA, being on the road, etc.) We shoot with a relatively small crew: a director (Jesse Scaturro has directed most of the episodes), a DP, a sound guy, and a makeup artist. I showrun or executive produce or whatever you want to call "standing next to the director and making suggestions every once in a while and making sure lunch is ordered."
Does every employee where all the hats - does everyone write, act, or direct the shorts?
Some of the actors also help write scripts but I do most of the writing. We only have one director. Otherwise, everyone mostly stays in their lane.
Are your shorts written or do you have an idea behind them and allow the actors to improvise and play within the scenes?
Questions from a Vooza fan about how we do the show..
How did you come to start Vooza?
I had worked in the tech world for 10 years (employee #1 at a company called 37signals, best known for creating Basecamp). Along the way, I began doing standup comedy. I was doing shows at night and working during the day and thought there might be a way to combine these things in a fresh way. It also was a Wild West kinda time for online video (still is I think) and seemed like there could be a neat opportunity there. So Vooza was created as an experiment and when it took off out of the gate, we sought out advertisers and tried to turn it into a real business. Now I like to tell people that we are a real startup about a fake startup. Or another line that I use: We're just like a real startup, except we actually make money.
As I mentioned before my friends and I have been writing, acting, and directing some shorts ourselves and I am curious to how you transitioned yours into advertising.
I wanted to make this sustainable so that meant money had to be coming in and advertising seemed like a natural way to do that. I think one of the strengths we had was having a niche audience – people in the tech world. That gave us a natural way in with advertisers who make products for that world. We're not working with Honda, Snickers, or Walmart. We're working with Ustream, Insightly, New Relic, Mailchimp, and companies like that. The people at these places watch/like Vooza – which helps sell what we're doing – and their products are targeted at our audience (entrepreneurs, designers, programmers, etc.) so it's a nice little ecosystem. The Deck ad network (http://decknetwork.net/) was something that inspired this attitude of making something for a certain group of web folks and then selling ads to the kind of companies that want to reach that audience. As for selling ads, we started off approaching brands that we thought would be a good fit. Now, most of our advertisers are fans who come to us. Btw, we also make custom videos for companies who like our videos but want something specific that might not work as a Vooza video.
Where do you get inspiration from? I have watched all your videos and am curious to how you create the idea. Does a company like LinkedIn hire you to create the video you made or was that original? What about "The Perfect Coffee Cup?" Is that advertising anything specific or just a short to illustrate your product?
I get inspiration from the madness of the tech world. Anywhere there are really pretentious people who lack self awareness is ripe for mocking and startups are filled with those types. I follow tech sites and stay in the loop on what's happening in that world and get most of my inspiration that way. When I keep hearing a term like "Big Data" and it seems like everyone knows they're supposed to talk about it but don't have any idea what it actually means, that's when a lightbulb goes off and I think, "We should do an episode on that." The videos that you mentioned were not sponsored by anyone. We just made them because we wanted to. I'd say 1 out of 5 episodes wind up being sponsored ones.
I am afraid I could ask you a million questions regarding Vooza- how it came to be? how you run the company now? What equipment you use to shoot and edit the videos?
So that kinda makes you wonder then, when you do those, “What is LinkedIn?” kind of bit. Are these people just kind of ad-libbing, but they don’t really–?
Yeah, those are episodes where I don’t even tell them what they’re gonna be talking about. We just turn the camera on, and we ask them to explain, you know, skeuomorphic design or something like that, and just hear what answers come out. So that’s the fun thing about working with standups. They’re good improvisers and able to think on their feet. Most of the episodes we do have scripts, but I’d say it’s similar to maybe how Larry David films “Curb Your Enthusiasm” in that we know where the scene’s gonna start and where it’s gonna end, and there might be a couple words or bullet points we wanna hit, but we also wanna give people room to improvise or just make something up on the spot. Because a lot of times, that’s the freshest or funniest part of the episode.
How do you come up with the scripts or at least the gist for an episode?
Sure, I just have a huge notes file or database. Actually, there’s an app called Scrivener that I keep everything in. So there’s a list of 100 different topics that I think might be funny for episodes, whether it’s an article that I read in The Next Web, or TechCrunch, or some publication like that, or if it’s interviews that I see with David Karp where he has funny quotes or something that I think is funny, or anywhere else.
I read an article recently about the toothbrush test, which apparently is something that Google uses when they decide whether to acquire a company or not. The idea of Larry Page talking about the toothbrush test, as soon as I see that, like, “Okay, well, that’s gonna be a Vooza episode. We have to do something on this.” So then I have to learn what that actually means, and then be like, “Okay, how can we make this funny?” And then it’s me generating most of the ideas of the scene, and then I work with other cast members and writers to actually write the scripts.
So sometimes it’ll be me explaining, like, “Hey, here’s this silly thing that happens. How can we incorporate that into the show?” and just throwing out ideas. And again, the cast also definitely has a lot of input into what they think is funny, or even when we’re actually shooting, being like, “Hey, why don’t we try it this way?” or just improvising stuff on the spot. So I think a lot of times it’s just creating that framework of, “Hey, here’s the subject and the topic. Now feel free to play around with it and see where it goes.”...So much of the stuff I see at Tech Blogs or the interviews that I hear or read, I’m like, “Uh, this is almost comedy already.” A lot of times it’s just taking an actual quote from some startup CEO and just making it maybe 10% more absurd, the basis of what’s ridiculous about it. People in the tech world are saying ridiculous things all the time that are almost hilarious, saying it with a straight face, whereas we put a little wink on it to where I think people get the joke.
...So it is pretty loose. It isn’t big, scripted, formulaic, two-camera, “Lucy enters stage left,” and it’s pretty…
I view the script as something to fall back on. The script is a framework where it’s like, hey, “If we’re rushed, or we run out of time, or no one else has any other ideas, then yeah, let’s get that, and bang it out, and move on.” But also, part of what I think is fun about the show is that we have low overhead, we have a small crew, but that, to me, is an advantage in a lot of ways. If you look at a lot of these other sitcoms on major networks, they’ve got crews of dozens of people, and this huge lighting setup, and every second that they’re filming is costing them thousands of dollars. And that puts a ton of pressure, and makes you wanna move really fast, and makes you just bang stuff out, and gives you no room to deviate from the script at all. And I think you can sense that in a lot of those shows. They just have that sort of formulaic feel, whereas I kinda like working cheap, and with a loose crew, and a loose script. I feel like the more you get that playful environment and vibe going on the set and with the cast and crew, that comes out in the final product, that you can feel that it’s people having fun, and there’s something loose about the whole thing.
I’ve watched a couple Vooza episodes where I recall, it wasn’t laugh out loud, it was more of an empathy, sympathetic, like, “Yeah, they got it. I’m not gonna laugh.” It’s kinda like “Dilbert” where maybe it’s not laugh, because you kinda wanna cry a little bit.
No, it’s an interesting point, because I think that also speaks to, what’s your goal when you’re creating online video? I think it’s a little bit different. We still wanna be funny and have it be good, but I think there is, when you talk about that empathy factor, I think that’s also really an important part of why people share stuff. I remember being at 37signals (now Basecamp), and engineers were always sharing “Dilbert” cartoons with each other in our Campfire group chatroom, and I'd be like, “Huh, that’s interesting.” This isn’t always the funniest stuff, but people will be like, “Hey, you’re gonna get this.” I think there’s that, “I wanna share this, because they get this thing, and I get it, and I wanna share it with you, because you’ll get it,” and why people share stuff online I think is an interesting psychological factor.
But yeah, there’s definitely episodes where we’ll sometimes be like, “Okay, this one’s hilarious, and we’ll hit a broad audience.” And then there’s other ones where we’re like, “All right, this one might not be as laugh-out-loud funny, but I think engineers or marketing people are gonna be like, ‘Oh, yeah, I know that person, or, “I’ve heard that phrase, and God, I’m so glad someone’s making fun of this.”
Yeah, the “Hackathon” one, that was good.
I think that episode is an interesting one, because that was generated by a tweet, basically. So we have our @VoozaHQ is our Twitter feed where a couple of times a day we’re posting jokes about the tech world, and then it’s always that sometimes one of those will take off and get retweeted dozens, or hundreds of times, or something like that. And then I’ll be like, “Okay, well that’s clearly hitting some sort of nerve. How can we turn that into an episode?” So I think that’s been an interesting thing too, is sometimes the ideas being fed to us from the response on social media to one-liners that we throw out there.
It’s an interesting advertising model, and I’m just curious about how you came up with it, and how is it working?
Sure, so far so good. I like to tell people we’re just like a real startup, except we actually make money.
I’m like, “Vooza” the show actually makes money.
So from the outset, that was the goal, was to make money off it and to make this sustainable, and I think one inspiration was The Deck, which is an ad network that 37signals and Coudal Partners actually started years ago, which was sort of ads dedicated to what they called creative professionals, you know, designers, or filmmakers, or people who worked on the web in different ways, and then partnering with advertisers like Adobe, or people who make fonts, or things like that, to kind of make ads. “Hey, you can assemble this audience with this network of sites and have ads that are actually appealing to them and have it not be an obstacle, or an intrusion,” or like, “Hey, this is something from Toyota, or Snickers,” or something you don’t care about. Instead have it be like, “Hey, we’re the guys running this ad network. We’re picking all the sites and people who are making this content, and then we’re also finding advertisers who we actually like, and use their product, and think it’s a good fit.” And you can kind of create a whole ecosystem of people who are actually liking what they’re seeing, and it’s advertising, but it doesn’t feel like it’s bugging you. So I think that was interesting to me back when we did that years ago, and then I think you also had just the rise of native advertising and branded content, and that’s sort of taking over content media. Words, and articles, and things like that, you start seeing that more and more and wondering, “Hey, is there a way to do this in video?” And I think also, people sometimes are like, “Oh, this is a very innovative, futuristic way to do advertising,” which to me is kind of funny, because it’s also exactly the way advertising started on TV back in the 50s, or on radio where you’d have… Howard Stern, I’m a huge Howard Stern fan. I always used to stop his show, and do plugs, and I think it works in a couple ways. You got the actors or the people on the show talking about the products. That makes it feel much different than a typical commercial. It happens within an episode...A lot of the branded episodes we do, the product is mentioned within the episode. But we try to do it in a subtle enough way that’s not really annoying. Usually those episodes get to be longer. They’re three minutes instead of a minute-and-a-half. I think there’s a way to look at it, like, “Hey, this advertiser’s helping you get more content than you would otherwise.” And also, we’re working with people who, it’s right for our audience. It’s not just some random brand. It’s people like New Relic, Ustream, or MailChimp, or Insightly, people who, they’re making products that are for the people in our audience, and it’s kind of this mutual and beneficial thing. So the goal is to have it be advertising, but that’s not really obnoxious, and annoying, and in your face...So I think it’s just a new way of doing stuff. It’s interesting because the fact that we’re small and doing it on our own, it’s in some ways a weakness, but it’s also helped us find the right audience who we wanna work with and the right advertisers who wanna reach that audience.
Capitalism is our true religion. The Dow Jones is God. NASDAQ is Jesus. The mall is church. The Wall Street Journal is the Bible. “Open your holy book to Marketplace B16 and we’ll read the verse of Monsanto vs. the FDA.” And thus the evil becomes holy. And we all bow down and worship the golden calf/Charging Bull. The old miracle: turning water into wine. The new miracle: turning subprime mortgages into executive bonuses. Hallelujah.
Vaping is making pot smokers weirder. Weed used to be a communal thing. Fire was involved. We'd gather in a circle and have a shared experience. Now everyone's got their little glowing LED thingies and they're sneaking off into corners and doing it solo and it takes away the whole "we're in this together" vibe and that's a bummer. Look, if you wanna do drugs and be selfish and sneaky about it, there's already a perfect solution out there for you: Cocaine.
Just launched: We're asking fans of Vooza to help make the show sustainable by supporting Vooza via Patreon. (I know, sounds like something we'd joke about. But this is legit!)
Creating these videos isn't cheap (each shoot costs thousands of dollars to produce). By pledging, you'll be helping us pay the actors, writers, director, sound man, cinematographer, makeup artist, and editors. And you'll also help us rent cameras, lenses, and lights so the videos look great. With your help, we'll be able to produce even better content (including extended episodes) and keep the Vooza train a-rollin'.
For rewards, we're offering a bunch of exclusive content, special access to Vooza's team, a producer credit, and even the chance to appear in a video. There are pledge amounts for individuals (anything you can give is appreciated) and for companies. Click here for details. And thanks for your support!
In the interview we discuss the origins of Vooza, how the show was conceived then how they go about the creative process for the show. Ever wonder whether the cast is a bunch of developers and techies? Is Vooza a real startup (hint: kinda, yeah but not that kind)? Do the characters have names? How does Vooza generate revenue to keep the show going? Watch the interview and all those questions will at least be mentioned if not answered.
Bloggers, we live in a world that has words, and sometimes those words have to be spoken aloud by people with microphones. Who's gonna do it? You, Huffington Post? You, Salon? Comedians have a greater responsibility than you could possibly fathom. You weep for those who are offended, and you condemn those of us who tell jokes. You have that luxury. You have the luxury of not knowing what we know. That people getting offended, while mildly unfortunate, is a byproduct of truth, experimentation, and laughter. And the words we say, while grotesque and incomprehensible to you, make other people laugh. We have neither the time nor the inclination to explain ourselves to a person who rises and sleeps under the blanket of clickbait headlines, gotcha "journalism," and copy-and-paste-content and then questions the manner in which we put original thoughts out into the world. We would rather you just watched Two and A Half Men and went on your way. Otherwise, we suggest you pick up a microphone, and stand up on a stage and try to make a roomful of strangers come together and erupt in laughter. Either way, I don't give a damn what you think is offensive.
Eric Bogosian: What's the difference between a black audience and a white audience?
Chris Rock: I'll give it to you in musical terms. When a musical act performs, the black audience goes crazy for all the stuff, the album cuts, everything. White audiences, they're nice and all, but they're not going to lose it until they get the hits. Comedy is the same thing.
Bogosian: How do you know when it is funny? When is the joke finished?
Rock: It's never locked. I mess with it every night. But I really don't improvise that much. I mean, 10 percent of the show is improvised.
Bogosian: What do you do when the audience doesn't get the good stuff?
Rock: I slow down my delivery. The natural thing to do when the show's not going well is to speed it up. Worst thing in the world. Slow it down. Make sure they understand everything you're saying. I'll think, Maybe the abortion bit won't play. But I don't drop that much stuff now.
One other interesting line is when Rock explains why he would listen to MLK, Malcolm X, and JFK: "I just looked at it as kind of the same thing as I was trying to do, but without punch lines. I think anybody in front of a crowd is a comedian."
FYI, I've posted lots of stuff about Rock over the years here. Take a look.
And on Tuesday, I'll be at HOT SOUP, our weekly standup show in midtown, that's had some great guests lately (Aziz, Hannibal, Gaffigan, Silverman, etc.). FYI, we mail out the lineup every week to our HOT SOUP email list. Also doing a couple other spots at Triple Crown and Karma this week too. You can find all my gigs listed at MattRubyComedy.com.
Videos to watch
And Vooza, our show mocking startups, is still going strong (nearing episode 100!). Solidsmack wrote this about the show: "Silicon Valley is definitely worth a watch…If HBO isn’t your thing however and you still want to have some laughs at the expense of startup culture, the collection of shorts over at Vooza intelligently pokes fun at everything from crowdfunding concepts to product pitches and business card exchanges to product launch videos."
In The Cult of Originality, cartoonist Nina Paley writes, "We can’t know what’s original. We can only know what’s honest."
In my case, if something seems obvious and true, but I don’t see it reflected outside myself, then I try to manifest it. If I find myself arguing a lot, getting angry and angering others while simply telling the obvious truth, then I suspect whatever idea I’m speaking for would be better expressed in art. My most successful, “original” artworks were all ideas I’d discussed with others ad nauseum (the other parties’ nauseum, since they couldn’t see what I saw and rejected the concepts in conversation). Yet no matter how much others insisted said ideas were stupid, or crazy, or not worth thinking about, the ideas continued to press themselves on me as true. I wouldn’t need to give them a voice if I could hear them outside myself.
Seems like a good basis for what to talk about onstage. If you're constantly arguing for something that seems obvious to you but not to others, bring it to the stage.
Good advice on getting a tape that I heard from another comic: Never just launch into the material that you're trying to get on tape. Riff on the room or do a couple other jokes or something else just to loosen up and get a few laughs. Then take a pause and dive into the set you're wanting to capture as if you're just starting it. No one who watches the tape is gonna care (or even know) once you edit out the other stuff. And now you're starting with some momentum instead of starting from scratch.
In "Think Like A Fan," Twitter's Head Of Music talks about how Drake, Jimmy Fallon, and Kid Rock have gotten traction by using that mindset. And he even quotes Maya Angelou.
Maya Angelou said this “I’ve learned that people will forget what you said, people will forget what you did but people will never forget how you made them feel.” They never forget how you make them feel.
Seems like good advice for a standup set too. Laughs per minute might not be as important as the feeling you leave 'em with.
It occurred to me the other day that academics and businessmen are the opposite of standup comics in a way. They're always puffing themselves up. Dropping fancy job titles, where they got degrees from, trying to sound smart/impressive, etc. Meanwhile, standups lead with what's wrong with them. How they're fat, bald, lazy, depressed, neurotic, etc. They do it that way because they know these things build empathy and connection. They get the audience on your side. Once you do that, you can go wherever you want with them.
How does Larry David come up with Curb scenes? Watch him create a funny on-the-spot Curbish scenario based on "I donated money in your name" charity donations. It's at 40m10s in to 43min of this KPCS interview.
An excerpt from Haruki Murakami's "What I Talk About When I Talk About Running." The gist: It's ok if 9 out of 10 people don't like you, as long as that other 1 REALLY likes you. Seems like you could apply that to standup too.
In other words, you can’t please everybody.
Even when I ran the club, I understood this. A lot of customers came to the club. If one out of ten enjoyed the place and decided to come again, that was enough. If one out of ten was a repeat customer, then the business would survive. To put it another way, it didn’t matter if nine out of ten people didn’t like the club. Realizing this lifted a weight off my shoulders. Still, I had to make sure that the one person who did like the place really liked it. In order to do that, I had to make my philosophy absolutely clear, and patiently maintain that philosophy no matter what. This is what I learned from running a business.
After “A Wild Sheep Chase,” I continued to write with the same attitude that I’d developed as a business owner. And with each work my readership—the one-in-ten repeaters—increased. Those readers, most of whom were young, would wait patiently for my next book to appear, then buy it and read it as soon as it hit the bookstores. This was for me the ideal, or at least a very comfortable, situation. I went on writing the kinds of things I wanted to write, exactly the way I wanted to write them, and, if that allowed me to make a living, then I couldn’t ask for more.
Reminds me a bit of Kevin Kelly's 1,000 True Fans. You don't need everyone, you just need a few true devotees.
From the beginning, and to this day, I would never tell a lie onstage. So now I walk out, I go, “I’m so happy to see you,” and I really truly am so happy to see them. The one thing I brought to this business is speaking the absolute truth. Say only what you really feel about the subject. And that’s too bad if they don’t like it. That’s what comedy is. It’s you telling the truth as you see it.
I like this idea as the inverse to Steve Martin's old approach (i.e. everything he says onstage is a lie). Also, some of her advice to comics from that piece:
First of all, don’t worry about the money. Love the process. You don’t know when it’s gonna happen. Louis C.K. started hitting in his 40s; he’d been doing it for 20 years. And don’t settle. I don’t want to ever hear, “It’s good enough.” Then it’s not good enough. Don’t ever underestimate your audience. They can tell when it isn’t true. Also: Ignore your competition. A Mafia guy in Vegas gave me this advice: “Run your own race, put on your blinders.” Don’t worry about how others are doing. Something better will come.
THE RACIAL JOKE TEST
The test is “DO THAT JOKE IN FRONT OF AN AUDIENCE MOSTLY COMPRISED OF THE GROUP YOU MIGHT BE IN DANGER OF OFFENDING”. If if doesn’t fly or you don’t feel comfortable then drop that joke.
The last line of the piece: "Please go to harlem and pull that puppet out and see how it goes."
The film opens with simple, white-on-black titles, backed by an elegant, evocative jazz standard. The story that follows, framed by documentary-style straight-to-camera interviews, concerns a witty, urbane Jewish neurotic and his relationship with a sunny, fashionable shiksa. They stroll in through an autumnal Central Park and discuss death, sexual hang-ups, and New York real estate; the borough of Manhattan is captured in loving beauty shots, often backed by the music of Louie Armstrong. From that description, it would be easy to assume I was describing any number of Woody Allen films (Annie Hall in particular). But no, I’m talking about director Rob Reiner and screenwriter Nora Ephron’s When Harry Met Sally.
So why did Harry/Sally do so much better at the box office than any of Woody's movies? Bring in the happy ending.
Yet the key to When Harry Met Sally’s initial financial success and subsequent cultural ubiquity most likely lies in its third act, when it takes some turns decidedly its own. To be clear, it’s not all an Allen carbon copy; the famous Katz’s Deli sequence, for example, is a funny scene, but it’s also a “funny scene,” an entirely unbelievable set piece with a (hilarious, mind you) sitcom punchline that one can’t imagine within Allen’s more grounded world. But most strikingly, once Harry and Sally take the plunge and their relationship becomes more serious, it becomes more of a conventional romance — and more of what we would come to define as an Ephron movie.
Most importantly, the picture culminates with an apologetic Harry coming to his senses, sprinting through New York City on New Year’s Eve, and delivering a big, heartfelt speech so he can win back Sally, who he really loves after all. This happy ending is When Harry Met Sally’s chief divergence from the Allen playbook. It’s not just that his best-known comic romances, Annie Hall and Manhattan, end with their focal couples apart rather than together; in Allen’s nearly 50 films as writer/director, only six (Zelig, Broadway Danny Rose, Hannah and Her Sisters, Oedipus Wrecks, Curse of the Jade Scorpion, and Melinda and Melinda) feature a couple that meets, falls in love, and lives happily ever after.
Allen’s jaded view of love — all broken relationships and heedless infidelity — may be the more realistic one, but realism don’t sell tickets, kids.
Love this Curb Your Enthusiasm scene. Interesting to me how different this kinda humor is than doing standup. He's milking the shy, quiet thing here – for a while – in a way that'd never work onstage in front of a big crowd. On a screen, you don't have to "command the room" in the same way. You've already got the audience's captive attention. The camera does the heavy lifting for you. That means you can get laughs from subtle looks or simple/quiet things that'd get lost in a live, "you need to reach the back row" setting.