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I can apply myself to the format of 'SNL,' I can apply myself to the format of 'Conan,' but at the same time, I'm still being J. B. Smoove. I'm not changing up my style, I'm not changing up how I think, what's funny to me, my delivery, the way I carry myself.
Mel Gibson is losing it. I don't know how people still supporting this dude's movies like it's all good. That dude is nuts. All you gotta do is shut him down and don't support any of his movies.
Believe it or not, I write on stage. I can't write anywhere else; I have to be in a moment. I also have to challenge myself to make something funny out of a premise. I never have my own jokes written. I have to change things as I go along, and I have to entertain myself.
'The ruckus' is different experiences you go through throughout your life which builds your ruckus points up your tolerance. You've got to have a high tolerance for dealing with stuff all the time.
I loved Peter Sellers. I thought he was the perfect mix of physical comedy with out of the box humor. I loved his tone; I loved his physicality; I loved everything about what he was doing as a comedic actor.
I think what I do in my acting world and what I do in my standup world is bring up a brand that I want to bring across. Once you figure out your brand and what you do, it's kind of easy at that. You end up getting your audience.
I would only take a role that I know I'm comfortable in and I can do. I've turned down plenty of things because I'd feel it's not me, and I wouldn't want to come on someone's project and flip that.
It's great when a director like Cameron Crowe can take what you do and fit it into what he's doing. If someone's a fan of you already, they can take what you do and make it work for what they're doing. You don't know their vision, and you're thinking, 'How is this guy going to take what I do and make it work in this movie?'
I had decent but not great grades in high school because I was highly motivated in some subjects, like the arts, drama, English, and history, but in math and science I was a screw up. Wooster saw something in me, and I really flourished there. I got into theatre, took photography and painting classes.
There is certainly a part of my filmmaking that harkens to a more simpler commercial kind of taste, but then with this there's certainly a kind of avant garde, abstract, existential element to it.
I don't know how you make decisions in your life, but I weigh lots of things, and it's not always the purest of things for why I take a job or do this. I always try to think of the many different factors in my life, and not one is pure greed. One is pure quality of life.
As a writer, I had learned a lot on 'Margin Call' about embracing the weaknesses of a narrative and of a project. A story always has an inherent narrative weakness.
I'm a huge fan of the films of the '70s and even into the '80s, Sidney Lumet, all those films that used what was going on in people's lives as drama. And not only are you entertained, but hopefully have a greater understanding of your world coming out of it.
Just making a movie the way 'All is Lost' had to be made was a great experience, because it was structured differently than any other film I will make for the rest of my life.
The original Spencer Tracy version of 'The Old Man and the Sea' was always terribly flawed because of the over reliance on voice over, but it's still a beautiful movie.
To have a second movie that you're proud of and that actually turned out the way you wanted, shot by shot, I realize I'm probably going to be able to do this for a little while for my living.