Ultimately I want to be able to create whatever I want whenever I want. And if that doesn't work, I don't mind just doing weird plays.
It's creating things that make enough money to create resources to generate new technologies to have those technologies to generate more resources so I can make more things happen.
I want to be able to make a movie.
What I'm doing on stage now is just the tip of the iceberg.
I've always wanted to do a Shakespearean soliloquy, or a fake Shakespearean soliloquy, and now I'm doing that more often in shows. Things I've always wanted to do starting to happen.
Everyone speaks stupid.
If I can learn a couple of phrases in Italian but do mostly weird, absurd music things, people will like it.
Whether I go to English-speaking countries or non-English-speaking countries I can just modulate to what works for them.
The stuff that I'm saying, they're not really traditional, structured jokes. It's not like I'm talking about growing up in Chicago or anything remotely close to that. It's basically me juggling words and concepts and phrases and being stupid.
I like sincerely talking about market analysis and how marketing is ahead of design and design needs to catch up to fulfill the promise of the marketing.
One of my favorite things is acting like a speaker or a professor or a CEO of a company and addressing the audience like a group of engineers or designers or marketers.
When I'm performing, I hope my research and my experience with those things I'm talking about rings true.
I'm always trying to see things from different peoples' perspectives, to understand why they love something.
I try not to talk about something unless it's something I love. But if it's something that really annoys me, I fixate on it, learn something about it and then, when I'm onstage, it comes out.
I consider myself something of a self-taught anthropologist.
When I'm at the piano, and I'm improvising some song about something, it usually oscillates between factual, absurd, and sincere.
I like to ride the line between absurd and sincere.
If I'm improvising and I'm not doing well it's because I'm not listening very well. Either I'm overly concerned with something or I'm drifting or maybe I'm too stoned but I'm not getting a clear signal.
Whether you're with a group of people, whether you're playing music or whether you're by yourself, even if it's written material, you have to be listening.
An improv artist's best instrument is their ability keep their antennae clean so they're able to receive what I call the connection to creativity. It's the thing that you see in any amazing moment that any human being is performing. Whether it's watching Michael Jordan navigating through all these attackers and then suddenly rising up and putting the ball in the most amazing way, or watching an actor on stage playing Shakespeare, but not thinking about the actor anymore or the stage or you or the chair, any of these kinds of moments of transcendence.
When you're improvising, you're relying on this connection to creativity.
You can either just have fun with the joke or you can have fun with the joke and think about the implication of it. It's totally up to the listener.
Good comedians are great philosophers.
There are things I believe in to a certain extent, as much as a scientist would. And I like, through the means of entertainment, to explore those ideas.
I like that feeling of discombobulation that comes in creating an absurd world that doesn't make sense.
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