Scott Aukerman Quotes
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I love all of our subpodcasts.
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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.
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It's really difficult to make things, and a lot of times you don't know you're at the end of something.
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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.
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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.
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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.
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Your average comedian doesn't know the podcast universe, really.
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The best sketch shows are from a group of tight-knit people whove worked together for a really long time.
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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.
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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.
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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.
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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?'
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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.
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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.
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Things go away and projects crumble and disappear, or you make your movie and it comes out and no one watches it.
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I probably felt some sense of relief, because when you're on this continuous production cycle and you're doing a show for a network where they expect you to come back every May or every June, you just don't get time to sort of recharge.
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You don't get a lot of life milestones in show business. It's really difficult to make things, and a lot of times you don't know you're at the end of something. With Mr. Show, I was only a writer and we knew we were going into the movie, and we thought, "Okay, like Monty Python, we're going to make five movies." And we didn't know it was the end. So it ended up being a bummer and such a terrible ending for Mr. Show. We never got to feel like, "Wow, we did it! We did something."
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I always viewed [the podcast and the TV show] as two separate things.
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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.
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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.
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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.
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It's so hard to figure out how to end a TV show.
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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.
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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.
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I always tried to do cool things.
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It really was a unique experience to me to have a television show, Comedy Bang! Bang!, that I really cared about so much, and to know that it was the end, and know that that was the ending of it. We had a wrap party, and we thanked everybody. You don't get that a lot, especially in comedy.
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Оf course you can only write comedy when you're smoking weed.
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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..."
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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.
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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.
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