Lots of laffs tonight at Triple Crown at 10pm.
Church - Product Displacement
SUNDAY! SUNDAY! SUNDAY!
Here’s a new sketch of ours!!!
Featuring Darren and Chris and a lot of graphics!!!
Captain Hippo is to sketch comedy as the Chicago Bulls circa early 90’s is to basketball
This is fuckin awesome.
KNEEL!
Mmmhmmm
(Source: youtube.com)
Captain Hippo shot this video starring TRACY MORGAN for the Shorty Awards! It’s relates to Twitter and junk. He was super crazy and funny and crazy in person.
I wrote this!
And Tracy tweeted about it! Circle of Life.
I held in my farts during this!
I farted. I was all like not professional. I drank seltzers.
Want to know how to get girls? Well than you should listen to me. I’ve been intimate with over 4 (four) girls.
Okay. Here’s the secret. Girls love cotton candy. At least most of them do.
Wanna know how I know this? I used to work at a minor league baseball stadium. So just walk up to that girl…
Oh man! I don’t know if you remember this Dan, but this was your contribution to that fake BU newsletter I made in late 2008.
Some stand-up I did last June that I just worked up the guts to make public. Plz enjoy
What a poster!
Look at how cool this poster is. Harry Strom constantly amazes me.
Though I’m not performing with Sons this semester, they are still very important people to me and I spend a lot of time with them. I am so excited for our two new members. This will be their first show.
Also, our two new members, Frank and Julia, are too charming to be real. Seriously. Get to know them if you haven’t already.
Marc Maron, Louis C.K., Sarah Silverman and Dave Attell.
[via edgarsux]
(via comedyisweird)
Most of these apply to improv & sketch & anything else you want to tell.
(via jamandearlgrey:andrewsteven)
Pixar’s rules of story
- Empathize with your main character, even if you don’t like all of his/her motivations or qualities. (For example, Woody in Toy Story initially masked his selfish desires as being selfless.)
- Unity of opposites. Each character must have clear goals that oppose each other. You should have something to say. Not a message, per se, but some perspective, some experiential truth.
- Have a key image, almost like a visual logline, to encapsulate the essence of the story; that represents the emotional core on which everything hangs. (For example, Marlin in Finding Nemo, looking over the last remaining fish egg in the nest.)
- Cast actors with an appealing voice, and whom the microphone loves. Test their voice performance with animation to see if it fits.
- Know your world and the rules of it. (Such as in Monsters, Inc.)
- The crux of the story should be on inner, not outer, conflicts.
- Developing the story is like an archeological dig. Pick a site where you think the story is buried, and keep digging to find it.
- Animation should be interpretive, not realistic.
- “Just say no” to flashbacks. Only tell what’s vital, and tell it linearly. Consider music as a character to anchor the film. Music is a keeper of the emotional truth.
- One universal guideline that Pixar follows is to make the story organic… no jokes that require outside information that isn’t supplied by the film itself.
Fantastic!
(via paulbriganti)
It’s 5:40 a.m. and I’ve reached the point of sleeplessness where you abandon all hope of getting any rest. I’ve been wrestling with this night for hours. I’m lying in a grungy room of a grungy apartment, and all its imperfections are amplified by my sleeplessness. The floor is slanted by about five extra degrees. Every truck outside sounds like a steel factory being propelled up Bedford Avenue by jet engines. The mouse in my closet is six feet tall and its jaws are caked with blood. Human blood.
My bedroom is crooked. It’s basically Dutch angled. My life inside it is, fittingly, like a German expressionist film. My computer desk has wheels that, if unlocked, would carry the whole thing about eight feet east until crashing it into my bed. Before, I knocked over an empty Yuengling bottle in the dark and listened to it roll for a solid fifteen seconds. I don’t know where it stopped. I can only conclude that their are valleys in this floor that I just haven’t found yet.
Crooked floor or no, this city and I are starting to fit together. We’re approaching the right configuration. The gears are starting to catch, the machine is rumbling to life. I’m still fumbling around in the dark most of the time, but I can feel the early makings of a rhythm between me and New York.
And I’ve settled into this room. There’s something right about the floor, the dirty coffee mugs, the messy piles of books I haven’t read yet, and those monstermobiles roaring up the street. Maybe I’ve been hurtling through time and space towards this sleepless night in this absurd room for twenty-two years, four months and four days. Maybe it’s 6:27 a.m. and I’m starting to write nonsense.
Either way, I’m gonna go bike around Do-or-Die Bed-Stuy now, and try to make it back to my roof in time for the sunrise.
Too good. Video of a 4-year-old watching the part of Empire Strikes Back where it’s revealed that Darth Vader is Luke Skywalker’s father. This redeems the whole series for me.
This is why I love movies.
Halfway through this I realized I was watching the kid the way he was watching the movie. This is great.
(via erockappel)
I’m moving to Brooklyn tomorrow. This means that I will be living in New York City. Around the clock. I will not board a Metro-North train back to Connecticut at 11:22 tomorrow night. I will not be in a basement that my dad refinished, safely dozing off to old “Simpsons” episodes by 1 a.m.
At 11:22, I’ll still be god-knows-where in New York City. I will doze off not on a futon my mom bought, but in a dingy third-floor apartment in Clinton Hill, my head resting in close proximity to more Hasidic Jews than my mom has ever seen. So many Hasidic Jews.
I’ve wanted to live in New York for a long time, probably for more than half my life. But I’m moving in under less than ideal circumstances. I don’t have a job. I have a small amount of savings that will start thinning fast. I have framed bachelor’s degrees that I can dust off and shove into anyone’s face, but I have very few marketable skills. Actually, that’s not true. I have no marketable skills. On top of that, I am a child in a weak, lanky man’s body. I don’t own a checkbook. I don’t eat fruit. I learned what a cashier’s check is just the other day. I still do not know what a cashier’s check is. I take baths.
So, I’m anxious. The 9-year-old me that made plans to live in the Empire State Building could never foresee all this dread. The 9-year-old me was a small, cute dumbass. Lots of questions haunt me now. What am I doing? Can I even survive this? Who do I think I am? What, for fuck’s sake, is a cashier’s check? Recent trips to the city have been more stressful than affirming. I’ve been seeing New York for its hardness and inhumanity, when I used to see only magic and possibility. I used to see the brights lights and the energy and the bigness, and feel at home. Now I see long, weathered faces and too-heavy bags, and feel unwelcome. Homeless people are walking cautionary tales. This place will break you. This has made it hard to get excited.
Yesterday, I was driving a UHaul van packed with all my shit into Brooklyn. Driving, and thinking that there was still time to back out and do the sensible thing. There’s time to turn around and go home: a place where there’s way less meanness and, by definition, there can be no homelessness. Where failure can be blissfully ignored, covered up by second dinners at 2 a.m. and a futon that will gladly receive any pasty, poorly-maintained body. I thought about how easy it would be to retreat back to that safety.
And then there was this point, on the Brooklyn-Queens Expressway, where my van crested a hill, and all of the sudden Manhattan was laid out right in front of me. Fucking sparkling, the way tourists are promised it will. It felt like seeing it for the first time. There was the same sense of possibility, of encouragement. The same impulse to make myself a small part of this monument to human achievement. And I just thought, Something about this has to be right.
I might have some rough experiences in New York. But it doesn’t matter. I’ll still get to spend every day in a place that is, by its very existence, a kind of culmination of human history: a place that is at once the pinnacle of our species’ achievement and the gutter of its failure. And because of that, every street, every building, every character you meet, is somehow hallowed, somehow sacred—somehow special because they exist in what should be an impossible, inconceivable place.
I’m so ready to soak it all in. And I’m excited to see a lot of you guys there.
(As an incentive to get myself writing, I’m gonna post daily about how this all unfolds. I hope these blocks of text don’t stick out like too sore a thumb on your Tumblr feeds.)
New York Magazine wrote a pretty great Oral History of the UCB Theater.
(via comedycentral)
— George Carlin, Last Words (via adamconover)
(via comedynerdsunited)