Quotes of All Topics . Occasions . Authors
I love all of our subpodcasts.
I always tried to do cool things.
It's so hard to figure out how to end a TV show.
The key to being a singer - try to do it audibly.
I'm probably doing puns more than anything in my life.
A lot of good things can come from not expecting anything.
Оf course you can only write comedy when you're smoking weed.
Your average comedian doesn't know the podcast universe, really.
I always viewed [the podcast and the TV show] as two separate things.
What I love about comedy is breaking down the barrier between the audience and the performer.
Thank you for listening to Comedy Bang Bang! My name is Scott Aukerman and I will see you next week.
It's really difficult to make things, and a lot of times you don't know you're at the end of something.
The best sketch shows are from a group of tight-knit people whove worked together for a really long time.
I came to one of the first Comic Cons in 1985, when it was just people trading back issues of comic books.
The best sketch shows are from a group of tight-knit people who've worked together for a really long time.
I look back on our productivity in the 'Mr. Show' days, and think, 'We probably could have worked harder.'
Things go away and projects crumble and disappear, or you make your movie and it comes out and no one watches it.
Intimacy is really good. But then again, the first disk on the record is not intimate in the least. It's a really good CD.
When I was growing up, I wanted to do Letterman and I loved that live, in-studio model. I still would do something like that.
If you look at Earwolf, we've tried to have a really diverse stable of hosts. Even my show can get a little 'dudey' sometimes.
I've always been fascinated with radio and broadcasting. I did fake radio shows as a kid, where I was a DJ and stuff like that.
I'm not the type of guy who's funny in the room. I'm the guy who's funny late at night on a computer, trying to construct jokes.
That's one of the benefits of working with a smaller network like IFC. You're awarded more trust, but trust that I really earned.
I guess when I was a kid I wasn't the type of person playing a lot of pranks. I was the type of person upon whom pranks were pulled.
There's definitely something about the structure of 'Caddyshack' that is unique that no one has ever been able to achieve since then.
Most of the stuff I've written has never even gotten made. It's par for the course. It's a great living, but it also gets very frustrating.
Comedy is really best when watched with other people, and I don't really understand people who sit at home watching comedy movies on Netflix.
Working on 'Comedy Bang Bang,' we're there from 10-7, and that's a pretty light day compared to most other TV shows. Other shows, it's like 10-10.
Endings of television shows are sometimes such depressing things. It's like you're not going to hang out with these people anymore, and that's bad enough.
You see people who are disenfranchised elsewhere coming to Comic Con and making lifetime friends. I love seeing the outcasts of society all bonding together.
I think you're a better comedian when you're in the moment and you're kind of reacting to what's happening like a real person instead of doing rote memorization.
Not everyone can be as successful a performer as myself, who gave 10 great performances the first time I ever did comedy, and then toiled in obscurity for years.
There's always something interesting about comedy teams that have the exact same energy. The one time I really noticed that was Will Ferrell and John C. Reilly in 'Step Brothers.'
I think shows that have more of a narrative and are about what's going to happen next, those need to wrap up as a complete story. But it's weird when a goofy comedy show needs to end.
I remember when I first started, the first movie I wrote that didn't get made I was aghast. 'Wait a minute, that's not how this is supposed to work. You write a move and it gets made!'
I get inspired when I look at Tom Lennon, who did Reno 911! for six seasons while writing huge movies and directing, and also doing other pilots; he did that FX pilot, the Star Trek thing.
I find I've always been judgmental about comedy (laughs) and it's hard to turn that off, really. But what constant exposure to live comedy does is it makes you give people a second chance.
I get inspired when I look at Tom Lennon, who did 'Reno 911!' for six seasons while writing huge movies and directing and also doing other pilots; he did that FX pilot, the 'Star Trek' thing.
The podcast was kind of an afterthought, because I was just excited about being on the radio. Then I found that the podcast listenership is some 20 times what people are listening to on the radio.
I probably could be a world-class screenwriter by now if I had spent the kind of work I devote on Comedy Death-Ray to that. But I do okay, in that regard. I mean, my stuff gets bought, so it's all right.
You have to pay your dues. And what's nice, after booking a lot of new people... I counted the other day. We're in September and we've already booked between 30 or 40 people who've never done the show before.
I think there's just some fundamental decisions at the beginning that are going to make it different. Our show The Right Now Show is going to be specifically different than Mr. Show because of the talent involved.
Podcasts feature comedians being as funny as they can be in a non-censored situation. It's really akin to standup in a way. When you go see a comedian in standup, that is the most pure, unadulterated form of their art.
I grew up loving David Letterman and Pee-wee Herman, but as far as live performance comedy, all I knew were the Jerry Seinfeld-type comedians of the world, and that's what I thought live performance comedy was all about.
So much of comedy is feeling comfortable with the point of view coming at you. So I understand it. There's people who I find hilarious now, but the first couple of times I saw 'em, I was like "What is this? I don't get it at all."
I probably felt some sense of relief, because when you're on this continuous production cycle and you're doing a show for a network where they expect you to come back every May or every June, you just don't get time to sort of recharge.
Others may dispute this, we have tried to keep that sense of experimentation and putting new people up alive. And we haven't become a show, where we're like, "We know the 20 comics who are good and we're just going to keep on recycling them."
We have a philosophy of we'll keep putting it up until people get it. We did that actually these last three weeks with Cracked Out from New York. People didn't really understand them. We put them up three weeks ago and they just got stared at.
I'm a huge Bob Hope fan, up until about the late '50s. I've seen so many of his movies up until then, and they're a big influence on me and a big influence on Woody Allen, who is basically just ripping off Bob Hope for his first five or six movies.
You become a victim of your own success. It's what happens in TV when Fox has a big hit with the X-Files. And they start chasing and the rest of their shows suffer. Because the experimentation that made the X-Files a show is all of the sudden lost.