Sometimes you just create a joke out of thin air in the editing room. I'm really glad I've had that experience. It gives me a little more confidence in front of the camera.
As an editor, you're constantly dealing with the best way to convey an exchange between two people. So when I'm shooting, I'm just aware in the back of my head what an editor might want.
I'm sure I cause just as much consternation for editors as any other actor, it definitely makes me feel more comfortable understanding how and why all the different camera setups exist.
There are certain relationships in our lives that implode, and it can feel really inexplicable and terrifying. You don't know why, and sometimes relationships end for reasons that one person keeps from the other person, and it's just totally unclear, and it just goes south and it's heartbreaking.
It was never tough [ being the new guy]. It's just the warmest group of people [The Office stuff] you could ever hope to work with.
The biggest thing that comes out of improv that gets built on is just character traits. You know, for me the singing was born out of improv.
A lot of kind of like the way that Andy [Bernard] talks, you know, the writers pick up on those things - little moments that I inject and then they start to write it in later. It's hard to say if a whole storyline is spun out of an improv. I feel like it has happened on The Office, I just can't think of it.
It's a very collaborative environment [making The Office]. We always do takes of how it's scripted, but then we also mix it up a lot too. And it's kind of a crapshoot, you never know which one... I mean a lot of time improvisation doesn't go anywhere and it's not good at all but, so what was written is often times better.
I'm sort of laughing and so Zach [ Galifianakis] started laughing [on the set of The Hangover]. And Todd [Phillips] was baffled because what we were saying wasn't that funny, you know what I mean? And it was like all the baby's face. So Todd was like, 'What is going on? Get it together guys.'
One of the biggest breaks we had actually, one of the biggest, the hardest I laughed on the movie [The Hangover] was the baby was just doing ridiculous things and making hilarious faces. But I'm sitting there and I'm supposed to be having this exchange with Zach [ Galifianakis] and the baby is like staring at me with these huge eyes and acting, and just making the most cerebral faces, and I could not keep it together.
The improv stuff, that's always surprising so a lot of times that's really funny.
It's just one of those things like when you're not supposed to laugh, it makes it that much harder to stop laughing. And for some reason Zach [ Galifianakis] and I get in this feedback mood of giggling, and on the set of Hangover we just couldn't get through stuff.
I'm the worst in The Office. It's a problem. They've had to shut down the set for like 30 minutes because of me.
Almost everything is in the movie [The Hangover]. I think the fun little Easter eggs on the DVD will be sort of the gag reel stuff. There's a lot of takes we just couldn't get through.We were laughing.
There really aren't any deletes [in The Hanover movie]. There's like one or two deleted scenes but they're not important or meaningful scenes.
We spent six weeks there [in Vegas]. The only thing crazy that I did was shoot that movie [The Hangovers]. The stuff in that movie is way crazier than anything I might have done, drunk one night in Vegas. I mean we did it for real in the movie, so that's as crazy as it got.
The scene [in The Hangover] where the tiger actually pops up behind us, that's actually a Jim Henson tiger puppet. The Jim Henson Company actually supplied that tiger. And it's really cool. Its entire face moves. It has like all these little motors in its eyebrows and cheeks and mouth. It was amazing.
No one employed [ chaos] better than Jim Henson, by the way, on The Muppets. He had all these chicken Muppets that just brought in the most glorious chaos to whatever scene they were a part of.
[Chickens] are very frenetic. So if you think about it and you look back in other movies, like if someone's taking a crazy bus ride somewhere and it's like, 'Oh, what makes this bus ride crazy?' There's a chicken in the aisle, or like there's a chicken in a crate. So I just think the presence of chickens makes things crazy.
Chickens are a symbol of chaos. Wherever you stick a chicken, unless it's a chicken farm, it's just chaos.
It's a fascinating culture [the South in the Civil War period] and so rife with comedic possibilities. And not in a way that...I have no intention of making fun of re-enactors. I think it's more just a celebration of their passion and enthusiasm, which is so infectious and maybe at times a little misguided.
I think the culture of Civil War re-enacting is also incredibly fascinating.
I grew up in Georgia and I think if you're raised in the South it's where a lot of the war was fought, and it's just more present in the sort of psyche of the South. So I've always just been interested and sort of fascinated by [Civil War].
I'm working on a script right about Civil War re-enactors who go back in time to the actual Civil War. It's kind of a big, crazy Back to the Future comedy. So, of course, it's the Civil War - I play the banjo. I was just having a conversation with one of the producers about some of the material and he was like, 'You know, we have to work in a scene where you play the banjo. And I was like I'll get behind that.
People now genuinely respond to it and associate me with music. It's really fun.
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