People think "The Office" was improvised, but it's all on the page. We do that because what we found is that in the early days of "The Office," we went in with it sort of 80 percent scripted and we did some things and then we improv'd and we did - you know, and it gets a laugh on the floor because it's the first time they've heard it.
My most frequent collaborators at S.N.L. are the incredibly gifted writers Chris Kelly and Sarah Schneider!
For all of my class projects, I somehow turned it into a commercial parody or put on plays. My whole thing was seeing things from a big picture, from beginning to middle to end: making a costume, doing voices, writing a script, making it all happen.
I don't like programming. It's tedious.
I love good TV shows, but it's not what I do. I kind of sculpt my films as I go along. And TV is all about writing, so you just shoot, shoot, shoot what's written.
On the day of the show, I sit down with someone that speaks very good English and someone who speaks the local language very well and work out what I'm going to say.
Sometimes I try to improve the language, the lines, or the delivery, but I don't ad-lib because I think that makes it really hard for everybody else involved.
Epic started out with scripting languages in the first generation of the Unreal engine in 1998. I wrote that. There's a place in my heart that comes along with the simplicity of programming in a scripting language.
To see a hacker actually hacking is not the most interesting thing visually, and it's pretty boring as an actor: a hacker taps on her keyboard. There's really not much more than that.
You can't improv off of bad writing. Then you have to actually create your objective, which is really hard to do in an element without the skeleton to go off of.
I don't know how to code. I should know how to code.
You usually get a script and you tell people what the story's about, and they have no idea what's going on. Whereas with an adaptation, you come into it, and it seems like everyone you talk to has a million opinions on the cast and the way the story should be told.
I am rarely happier than when spending entire day programming my computer to perform automatically a task that it would otherwise take me a good ten seconds to do by hand.
You have to write a lot of scripts to get any scripts that are worth making.
Acting and writing are the things I like doing. I don't like presenting that much.
It is formatted, and I'm tired of using vi. I get really bored.
I am much more involved in the filmmaking experience on Mag Seven. I'm much more involved in story elements, casting decisions, the writing of the show, the blocking of the scenes.
Being a hero, the man had observed, is largely a matter of knowing one’s cues.
'The State' had never done improv. We used to go over scripts for weeks and argue about every joke. But I don't know how we would have scripted 'Reno.'
I was fascinated with the writing process and seeing the evolution of a sketch and how it would change up to the minute before it went on the air.
I always enjoyed being in front of the camera.
With comedy, you really want to work things out beforehand.
I fix things now and then, more often tweak HTML and make scripts to do things.
There was something amazingly enticing about programming.
I have a lot of respect for people who are great at ad-libbing, and for writers and directors who are able to create a scene in which that works.
