In improv, the whole thing is that it is a relationship between the two people, as a back and forth. In standup, you don't really want to be listening to what somebody is saying; you want to project your jokes into their face.
In improv, the whole thing is that it is a relationship between the two people, as a back and forth. In standup, you don't really want to be listening to what somebody is saying; you want to project your jokes into their face. And that's really not a good instinct with a 'Daily Show' field piece, where it's supposed to be an interview.
As any Brit will understand, things get a little easier when you don't have to be number one any more. Really, the fall of an empire is not as bad as everyone thinks. It's like retirement. People fear retirement, but it can turn out be rather pleasant.
The British press are a group of unremitting scumbags. And sometimes they use that scumbaggery to good ends, and often not.
If you work on a comedy show, your basic form of communication is teasing. That's generally how we speak to each other: you communicate the information between the lines of insulting sentences.
I have occasionally - if ever I do interviews that are difficult or nerve-wracking - I take my wife's dog tags and have them in my pocket because it's a very quick way to realize that what I'm doing is not that important. It's not really worth getting stressed about because it's not, you know, war.
I'm always interested in audience interaction. Not so much aggressive audience interaction - I'm genuinely interested in how people see things.
My family is from Liverpool, so I have some of those vowel sounds, I've got the slack tone of someone from Birmingham, and then I was raised in Bedford, which is just north of London. So my accent, if it's possible, makes even less sense to a Brit than to an American.