Search Results for: Comedy

Nancy Meyers on Writing a Film Without a Romance

Anne Hathaway and Robert De Niro in 'The Intern'

In a conversation with New York magazine, Nancy Meyers talks about her new film The Intern, and why she didn’t want to write another romantic comedy:

I didn’t want to write another romance. I never wanted to write another scene in a restaurant between a man and a woman. I think David Mamet said, “There’s always the scene in a restaurant where the woman gets to talk.” I just didn’t have it in me to write one more of those things. And I felt sort of done with the romantic story. It just wasn’t what I was feeling. And I felt I’d covered that subject pretty well: to fall in love, and out of love, and be divorced, be Cameron Diaz’s age, or be Meryl Streep’s age. So I thought, A relationship between a man and a woman that’s not romantic, this is interesting. I’ve never done that. I think the age difference kind of really keeps the romance out of it. But I guess really, to be honest with you, if she were 60 or he was 35, I think they’d be wonderful together. But I think they’re both too cool and smart to ever have thought about it.

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Revisiting the Vibrancy of Deaf Culture: A Reading List

Updated 7/17/18: Over the weekend, an astute reader noticed a reading list I wrote in 2015, “Deaf Culture and Sign Language,” which purported to celebrate Deaf culture, didn’t feature any pieces written by d/Deaf or hard-of-hearing authors. I apologized. I should have elevated the stories of Deaf people directly, rather than those speaking on their behalf. My editors and I decided the best course of action was to update this list to make it more representative and inclusive, and I’m grateful for the opportunity to rectify my mistake. Many thanks especially to Sara Nović for her advocacy and reading recommendations and to Katie L. Booth for her idea-bouncing and guidance.

1. “At Home in Deaf Culture: Storytelling in an Un-Writeable Language.”  (Sara Nović, Lit Hub, June 2016)

Sara Nović writes about living at the intersections of three languages and how different facets of her personality manifest in each one:

What does it mean to be a writer whose language negates the possibility of the written word? On one hand, perhaps this is part of its pull—I exist in the present in ASL because the anxieties of my work are bound up in another language. On the other, writing, books, the things I have loved most since I was small, are at odds with my body. On days like today, when writing is difficult, this feels like a loss. The one language in which I am fully comfortable I cannot write, not exactly. But without it I would certainly be a lesser storyteller.

2. “How the Deaf and Queer Communities are Tackling Oppression Together.” (Alex Lu, The Establishment, June 2016)

Alex Lu, a Deaf-queer academic, presents a compelling argument for the increasing interdependence of the queer and Deaf communities. I especially appreciated Lu’s analysis of the impossibility of (white, straight, cis) interpreters’ objectivity. Read more…

The Fierce and Misty Flood: Barbara Comyns on the Quiet Seduction

Barbara Comyns’s novel Our Spoons Came from Woolworths (1950) follows the doomed marriage of two young, bohemian artists during England’s Great Depression. The excerpt below is a simple, gentle seduction; I love the way in which the protagonist, Sophia, swiftly and casually dismisses her husband and her own sense of identity. The scene strikes me as quietly wild. Its predictability is charming; its comedy, unassuming and disarming:

When we had finished eating and drinking, I played the portable gramophone. He had a lot of foreign records – chiefly Spanish. I hadn’t heard any before and played them every time I came. After a while I became bored with turning the handle, which fitted badly and kept flying out, so we just talked. I sat on the floor, very near the fire, and he sat in a low chair behind me, and I leant my back against him. It was so comfortable, I couldn’t bear the idea of going home and making the flat smell of polish. Then we became silent, and Peregrine came and sat on the floor beside me. Then he began to kiss me; at first I was shy and scared, although I realised now I’d been wanting him to do this for quite a long time. I forgot about being shy and kissed him back. Then I knew I had never loved Charles. I felt I was being carried away in a great, fierce, misty flood.

Some time later, when I realised I had been unfaithful, I didn’t feel guilty or sad; I just felt awfully happy I had had this experience, which if I had remained a “good wife” I would have missed, although, of course, I wouldn’t have known what I was missing. I felt quite bewildered. I had had one and a half children, but had been a kind of virgin all the time. I wondered if there were other women like this, but I knew so few women intimately it was difficult to tell.

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The Top 5 Longreads of the Week

Selena impersonators Lupita Espinoza, Jocelyn Gonzales, and Monica Peralta wait to perform at a Selena tribute. Photo: Scott Squires

Below, our favorite stories of the week. Kindle users, you can also get them as a Readlist.

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Stephen Colbert on How All Late-Night Shows Are ‘Chopped’

GQ magazine interviews Stephen Colbert, who compares making a late-night show to the Food Network show Chopped:

Back at his office, Colbert delivered a soliloquy on the necessity of focus and intention, being fully present for whatever moment you are in. He was talking about comedy, and how to make a TV show 200 times a year, but it also felt like a text lifted from the Buddha’s sutras. The final goal, the product, is beside the point. “The end product is jokes, but you could easily say the end product is intention. Having intentionality at all times… The process of process is process.”

And then he talked about the Food Network show Chopped. The reason he loves Chopped is that it’s a show that is wholly about process, about creation within a limited range of possibilities. “This show,” he said, meaning The Late Show, “is Chopped. Late-night shows are Chopped. Who are your guests tonight? Your guests tonight are veal tongue, coffee grounds, and gummy bears. There, make a show.… Make an appetizer that appeals to millions of people. That’s what I like. How could you possibly do it? Oh, you bring in your own flavors. Your own house band is another flavor. You have your own flavor. The audience itself is a base dish, like a rice pilaf or something. And then together it’s ‘Oh shit, that’s an actual meal.’ And that’s what every day is like at one of these shows. Something is one thing in the morning, and then by the end of the day it’s a totally different thing. It’s allprocess.”

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The Speakeasy

Longreads Pick

A lifelong comedy fan spends a week at Marty’s, a bleak Hollywood comedy club that specializes in open-mic stand-up.

Published: Jul 1, 2015
Length: 25 minutes (6,474 words)

A Reading List for My 25-Year-Old Self

Photo: Omer Wazir

This week I’m turning 25 and have decided (based on anxiety attacks and several recent horoscopes) to say what I really want: to pursue writing seriously. It terrifies me, because I’m having the following thoughts: 1) now it’s no longer a secret and everyone will see me fail; 2) my best writing samples are several years old; 3) so many folks I know who are younger and far, far more talented than me are Living Their Best Lives Now, and I feel hopeless in the face of so much talent. What do I have to offer? What can I say that hasn’t already been said?

But then I read something, and I realize I do have opinions and original thoughts. I can contribute to a larger conversation. I only need to commit to my potential and take risks. I need to contact the folks who’ve made offers I was too scared to accept, and I need to seek out these opportunities for myself. I need to believe in my value, and I need to hold myself accountable.

This list is a birthday gift to myself and, I hope, of use to you, too. It’s a mix of practical advice for freelancing, things that make me feel good, and examples of excellent writing. I included advice from professional women who get shit done, slideshows, links to YouTube videos, interviews with my favorite celebs, and other stuff. (Oh, and a post from Arabelle Sicardi’s Tumblr that makes me cry and is always open in my tabs.) Read more…

A Drug-Fueled Sprint Through Times Square: The Opening Credits of ‘Broad City’

“I wanted it to be big, bold, and weird,” Perry explains of his initial inspiration during our conversation with him. He highlights his exploration of color as a way to “vibrate the viewer.” His designs nail this goal, flashing fast and bright like a drug-fueled sprint through Times Square…

Artist Mike Perry had so many ideas ahead of his initial meeting with Ilana Glazer and Abbi Jacobson, the show’s creators and stars, that one was not enough. So every episode of the Comedy Central series — returning for its third season next spring — offers the viewer a different sequence and a new glimpse into Perry’s limitless imagination.

The Art of the Title takes you behind the scenes with Mike Perry, the illustrator behind the colorful chaos of the “Broad City” credits, and Julie Verardi, Comedy Central Senior Designer and Animator. Both Perry and Verardi grew up doodling; their collaboration on “Broad City” involves Perry hand-drawing 10 to 100 intricate frames, while Verardi edits and perfects the animation.

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A Moment of Zen: Seven Stories Looking Back at Jon Stewart’s Fake-News Legacy

Photo: Cliff

Tonight, Jon Stewart ends his 16-year run as host of “The Daily Show.” Here are seven stories looking back at how Stewart became the most influential fake-news anchor in the history of television:

1. Is Jon Stewart the Most Trusted Man in America? (Michiko Kakutani, New York Times, Aug. 15, 2008)

“Hopefully the process is to spot things that would be grist for the funny mill,” Mr. Stewart, 45, said. “In some respects, the heavier subjects are the ones that are most loaded with opportunity because they have the most — you know, the difference between potential and kinetic energy? — they have the most potential energy, so to delve into that gives you the largest combustion, the most interest. I don’t mean for the audience. I mean for us. Everyone here is working too hard to do stuff we don’t care about.”

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Joyce Maynard on Taking James Patterson’s Online Course in Writing Bestsellers

Lately, just about every time I turn to Facebook or Twitter, I’m greeted by an ad or sponsored content about the online writing course bestselling thriller author James Patterson offers on the MasterClass site (where Dustin Hoffman, Annie Liebovitz, Usher, Serena Williams and others serve up the tricks to their trades, too). “Set out to write a bestselling book,” the copy advertising the course suggests. For an investment of just $90 and three hours of your time, it’s an enticing offer. But I haven’t bitten yet.

Author Joyce Maynard gave in to the temptation. At at the Observer, she reports on the experience:

…In my ungenerous moments, I confess to having harbored a certain not-particularly-attractive level of bitterness over the success of writers like John Grisham and—above all others—James Patterson, a man who holds the title as the world’s best-selling author, publishing so many novels a year that he needs a whole stable of collaborators just to keep up with the demand…

…I entered into this project with a large measure of skepticism—worse, even: I entered anticipating that his lessons might offer up some great comedy material—by the time the last lesson was over, and Mr. Patterson (Jim, to me, now) had set me loose to write my best seller, I had developed genuine respect for the man. Even affection. If I met him at a book festival some day, and the opportunity arose, I’d greet him like an old friend.

What changed? For starters, Mr. Patterson possesses an abundance of good, solid common sense and some genuinely valuable wisdom. Not necessarily about the art of writing, mind you. But about storytelling. And at the end of the day, if you ask me (and more importantly, if you ask readers and book buyers), that’s what matters most. A person can write the most beautiful, lyrical sentences (as James Patterson will be the first to tell you, he does not), but if the story doesn’t grab a reader by the throat, and—having grabbed on—hold her there, none of the rest may matter all that much.

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