Holy moly, we've made 150 (!) episodes of our Vooza show. Crazy. Here's the 150th which is about the latest pukey buzzword in the tech world: Storytelling. Good time to say I'm so proud of the awesome/hilarious team that makes it all happen. It's so cool to be able to give comics I love a platform to show what they can do (especially when they take some pretty iffy scripts and spin 'em into gold). And Jesse Scaturro is a hero who does an amazing job directing and editing it all. Can't believe this lil' experiment has turned into a legit show with millions of views and led to companies like Turkish Airlines and Mailchimp hiring us to make cool shit for them and it's kinda been like film school for me so thanks to everyone involved. More fun stuff on the way too. Onward!
5/20/16
5/10/16
5/9/16
You show the fat lady approaching, then you show the banana peel...
Great story about a conversation between the Hollywood screenwriter Charles MacArthur and Charlie Chaplin.
via MQ
“How, for example, could I make a fat lady, walking down Fifth Avenue, slip on a banana peel and still get a laugh? It’s been done a million times,” said MacArthur. “What’s the best way to get the laugh? Do I show first the banana peel, then the fat lady approaching, then she slips? Or do I show the fat lady first, then the banana peel, and then she slips?”
“Neither,” said Chaplin without a moment’s hesitation. “You show the fat lady approaching; then you show the banana peel; then you show the fat lady and the banana peel together; then she steps over the banana peel and disappears down a manhole.”
via MQ
5/4/16
Steven Pressfield on art, fear, resistance, hacks, and what it takes to be a professional
Derek Sivers wrote up notes on The War of Art by Steven Pressfield. Really interesting stuff. Some of my fave bits below...
It’s not the writing part that’s hard. What’s hard is sitting down to write.
We don’t tell ourselves, “I’m never going to write my symphony.” Instead we say, “I am going to write my symphony; I’m just going to start tomorrow.”
Fundamentalism and art are mutually exclusive. There is no such thing as fundamentalist art.
Those who will not govern themselves are condemned to find masters to govern over them.
Inside the Actors Studio: The host, James Lipton, invariably asks his guests, “What factors make you decide to take a particular role?” The actor always answers: “Because I’m afraid of it.” The professional tackles the project that will make him stretch. He takes on the assignment that will bear him into uncharted waters, compel him to explore unconscious parts of himself. Is he scared? Hell, yes. He’s petrified. (Conversely, the professional turns down roles that he’s done before. He’s not afraid of them anymore. Why waste his time?) So if you’re paralyzed with fear, it’s a good sign. It shows you what you have to do.
If you’re feeling massive Resistance, the good news is, it means there’s tremendous love there too. If you didn’t love the project that is terrifying you, you wouldn’t feel anything.
The more psychic energy we expend dredging and re-dredging the tired, boring injustices of our personal lives, the less juice we have to do our work.
Amateur comes from the Latin root meaning “to love.” The conventional interpretation is that the amateur pursues his calling out of love, while the pro does it for money. Not the way I see it. In my view, the amateur does not love the game enough. If he did, he would not pursue it as a sideline, distinct from his “real” vocation. The professional loves it so much he dedicates his life to it. He commits full-time. That’s what I mean when I say turning pro. Resistance hates it when we turn pro.
The artist committing himself to his calling has volunteered for hell: a diet of isolation, rejection, self-doubt, despair, ridicule, contempt, and humiliation.
The qualities that define us as professionals?
1) We show up every day.
2) We show up no matter what.
3) We stay on the job all day. Our minds may wander, but our bodies remain at the wheel.
6) We accept remuneration for our labor. We’re not here for fun. We work for money.
7) We do not overidentify with our jobs.
8) We master the technique of our jobs.
The professional, though he accepts money, does his work out of love. He has to love it. Otherwise he wouldn’t devote his life to it of his own free will. The professional has learned, however, that too much love can be a bad thing. Too much love can make him choke. The seeming detachment of the professional, the cold-blooded character to his demeanor, is a compensating device to keep him from loving the game so much that he freezes in action. Playing for money, or adopting the attitude of one who plays for money, lowers the fever.
Professional respects his craft. He does not consider himself superior to it. He wants to be in possession of the full arsenal of skills when inspiration does come.
The most important thing about art is to work. Nothing else matters except sitting down every day and trying.
“Whatever you can do, or dream you can, begin it. Boldness has genius, magic, and power in it. Begin it now.”
A hack, he says, is a writer who second-guesses his audience. When the hack sits down to work, he doesn’t ask himself what’s in his own heart. He asks what the market is looking for. The hack condescends to his audience. He thinks he’s superior to them. The truth is, he’s scared to death of them or, more accurately, scared of being authentic in front of them, scared of writing what he really feels or believes, what he himself thinks is interesting.
It’s not the writing part that’s hard. What’s hard is sitting down to write.
We don’t tell ourselves, “I’m never going to write my symphony.” Instead we say, “I am going to write my symphony; I’m just going to start tomorrow.”
Fundamentalism and art are mutually exclusive. There is no such thing as fundamentalist art.
Those who will not govern themselves are condemned to find masters to govern over them.
Inside the Actors Studio: The host, James Lipton, invariably asks his guests, “What factors make you decide to take a particular role?” The actor always answers: “Because I’m afraid of it.” The professional tackles the project that will make him stretch. He takes on the assignment that will bear him into uncharted waters, compel him to explore unconscious parts of himself. Is he scared? Hell, yes. He’s petrified. (Conversely, the professional turns down roles that he’s done before. He’s not afraid of them anymore. Why waste his time?) So if you’re paralyzed with fear, it’s a good sign. It shows you what you have to do.
If you’re feeling massive Resistance, the good news is, it means there’s tremendous love there too. If you didn’t love the project that is terrifying you, you wouldn’t feel anything.
The more psychic energy we expend dredging and re-dredging the tired, boring injustices of our personal lives, the less juice we have to do our work.
Amateur comes from the Latin root meaning “to love.” The conventional interpretation is that the amateur pursues his calling out of love, while the pro does it for money. Not the way I see it. In my view, the amateur does not love the game enough. If he did, he would not pursue it as a sideline, distinct from his “real” vocation. The professional loves it so much he dedicates his life to it. He commits full-time. That’s what I mean when I say turning pro. Resistance hates it when we turn pro.
The artist committing himself to his calling has volunteered for hell: a diet of isolation, rejection, self-doubt, despair, ridicule, contempt, and humiliation.
The qualities that define us as professionals?
1) We show up every day.
2) We show up no matter what.
3) We stay on the job all day. Our minds may wander, but our bodies remain at the wheel.
6) We accept remuneration for our labor. We’re not here for fun. We work for money.
7) We do not overidentify with our jobs.
8) We master the technique of our jobs.
The professional, though he accepts money, does his work out of love. He has to love it. Otherwise he wouldn’t devote his life to it of his own free will. The professional has learned, however, that too much love can be a bad thing. Too much love can make him choke. The seeming detachment of the professional, the cold-blooded character to his demeanor, is a compensating device to keep him from loving the game so much that he freezes in action. Playing for money, or adopting the attitude of one who plays for money, lowers the fever.
Professional respects his craft. He does not consider himself superior to it. He wants to be in possession of the full arsenal of skills when inspiration does come.
The most important thing about art is to work. Nothing else matters except sitting down every day and trying.
“Whatever you can do, or dream you can, begin it. Boldness has genius, magic, and power in it. Begin it now.”
A hack, he says, is a writer who second-guesses his audience. When the hack sits down to work, he doesn’t ask himself what’s in his own heart. He asks what the market is looking for. The hack condescends to his audience. He thinks he’s superior to them. The truth is, he’s scared to death of them or, more accurately, scared of being authentic in front of them, scared of writing what he really feels or believes, what he himself thinks is interesting.
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