Scott Aukerman quotes:

+1
Share
Pin
Like
Send
Share
  • 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 was always a big fan of Mel Brooks and Carl Reiner's '2000-Year-Old Man' sketch. I think it's one of the biggest influences on the podcast, definitely. You'd never say Carl Reiner was the funniest dude on there, because he's just teeing it up, but he knows what questions to ask to lead to great improv.

  • 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.

  • 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.

  • 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.

  • At the end of Season Four of 'Mr. Show,' instead of doing another season, everyone just thought they wanted to go and do a movie. Kind of like Monty Python. Monty Python went right into 'And Now For Something Completely Different,' and everyone kind of compared 'Mr. Show' to Monty Python.

  • I came to one of the first Comic Cons in 1985, when it was just people trading back issues of comic books.

  • 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.

  • The power of podcasting is pretty remarkable. It is such an amazing way to mobilize fans. It's almost like they're part of your family. They probably listen to you more than they listen to their own families. I know that's true for me. So there is a real bond there.

  • 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.

  • 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.

  • The best sketch shows are from a group of tight-knit people who've worked together for a really long time.

  • 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.

  • 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 probably doing puns more than anything in my life.

  • 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.

  • The big problem in translating is that we had to translate the language. People may not know that we record the podcast in Japanese, translate it to English and then actors play us on the podcast. I'm not actually Scott Aukerman, I'm the actor who plays his voice on the podcast. Unfortunately, it's cost prohibitive on a television show.

  • 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 have new bodyguards ever since I got a TV show. I didn't know, but it's a lot like becoming president. They tell you every single secret, like who shot JFK. When you have a TV show, they not only tell you who shot JFK, but they assign you bodyguards.

  • 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 think expressing yourself and working hard can't help but have great results. Look at Zach Galifanakis. He didn't tweet. He didn't have a podcast. He just went out and did the funniest standup you'll ever see in your life. And he was rewarded for that.

  • 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.

  • 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.

  • After the comedy boom of the '80s, there was a certain formula that comedians had to do and could do in order to be successful touring comedians, and those were mainly observational comedians who had a very strict structure of what made an act, and I think it was very performance oriented.

  • The best sketch shows are from a group of tight-knit people whove worked together for a really long time.

  • I was a standup comic, which doesn't necessarily mean you interact with people all that much. In fact when I did shows, I wouldn't talk to the audience very much. Then my friend offered me a radio show, and I thought, you know, I'll try talking to people and see what kind of interviewer I was.

  • 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 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.

  • 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.

  • 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 think comedians should focus on what makes them happy, what art form fulfills them the most. Don't be calculated about it and say, 'Okay, I'm gonna tweet, and I'm gonna podcast, and I'm gonna do standup, and one of those things is going to lead me to my own TV show.' I don't think that should be the goal.

  • I think that 'Mr. Show' was a huge influence on me. It was literally the reason I started doing comedy, because I was asked to do a bit at The Comedy Store, and B.J. Porter and I went to see Bob and David - who I'd never heard of - do a live show, which was one of the shows that got them the 'Mr. Show' show.

  • And that's the thing about our show: what are they going to do put on the poster? I don't know. It's always easier when you have someone like Cedric the Entertainer where you can go, "You know this guy. You love this guy. Watch his sketch show." And then people tune in and go, "I though I knew that guy. I don't love that guy in a sketch show."

  • But the great thing about shows now is since we've been doing (Comedy Death Ray), they have lightened up on their booking policies a bit more and are booking somebody who isn't famous and who hasn't been around ten years. It's great to see people who've done our show - the first big show they've ever done - now they can play around town.

  • Each week we usually have one person who's never done the show before. Last year we had close to 60 who'd never done the show before. We're constantly booking new people, sometimes to the consternation of people who live here who do the show regularly.

  • 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.

  • I always tried to do cool things.

  • I always viewed [the podcast and the TV show] as two separate things.

  • I came into the 'Comedy Bang! Bang!' TV show with a level of confidence that I don't think I would've had if I hadn't been doing the podcast for three years already. I certainly had to figure out in those three years the sense of humor I wanted to do and the way to talk to celebrities without being incredibly intimidated by them.

  • 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.

  • I love all of our subpodcasts.

  • 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 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.

  • I would say we had two goals when doing this CD. The first goal is to introduce people who have never seen the show before to the best comics that are on the show. And goal number two is to introduce people that they never heard of before and give you a bit more flavor of what the show is actually like. And those goals are very much in line with the philosophy of the show from the very beginning. It's the very best people who are out there...

  • 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.

  • It's really difficult to make things, and a lot of times you don't know you're at the end of something.

  • It's so hard to figure out how to end a TV show.

  • My partner, Jeff Ullrich, and I always thought Earwolf was going to be big. There were a couple of studies before we launched saying podcasts were going to really grow. But I remember so many conversations at the beginning where people would say, 'How are you going to make money with this?'

  • 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."

  • 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."

  • Thank you for listening to Comedy Bang Bang! My name is Scott Aukerman and I will see you next week.

  • The great thing about the Internet is - our show is totally modular. Every piece can be popped in and out. They're relatively short pieces. They're not long. And we can say, "here' s one way to market it. Take these pieces out of the show and put them on the Internet." And we're doing dirtier cuts and put those on the Internet. It's a real great way to market the show. This is finally the year a show like this can happen.

  • The show became popular as aspecialthing became popular. And Sasquatch, the guy who runs that site, started coming to every show and reviewing it. And when people start talking about the reviews from the stage. That to me is really self indulgent and we tried to put a caper on that.

  • Things go away and projects crumble and disappear, or you make your movie and it comes out and no one watches it.

  • 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.

  • We like to keep the show small. Honestly, where we moved the show to the UCB theater, we moved it to a smaller space. Even though the show has technically gotten more popular. And that is, only because we like intimacy and the ability to experiment more. We don't want to be like, "We can get 250 people in a week. So let's do that. But we have to be careful about who we book..."

  • When people look at the ratings and they're bad, I think people can get an idea of "Why would they even make the show?" And to a certain extent, original programming for any network is a loss leader to try to get you to keep the channel on your cable package.

  • 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.

  • 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.

  • Your average comedian doesn't know the podcast universe, really.

+1
Share
Pin
Like
Send
Share