American - Actor | November 26, 1965 -
Networks like Adult Swim allow artists to be artists and allow their vision to come through without a lot of tinkering. I worked on 'Moral Orel' and 'Mary Shelley's Frankenhole,' and they bothered us very little. They very, very seldom came to us and said 'Change this,' or 'You can't do that,' or 'We'd like to see this.'
Scott Adsit
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It's hard to tell what is even mainstream anymore because there's so many platforms now. And they're all topics of conversation.
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I think the longer a sitcom is on the air, by necessity, the dumber the characters have to get: otherwise, they would be learning and growing, and they won't be funny, so they have to get more and more extremely whatever they are.
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Every time that you do a play or a show of any kind, really you have this family that you really build something with for a while, and then we all dissipate, but you always have that connection, that eternal kind of intimacy, you'll always have.
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I've been doing improv since high school, and I've been getting paid for it since I was 20.
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A nightmare would be when somebody is trying to be funnier than everyone else. And you've got a group scene or two-person scene, and one person decides, 'I'm the funny in this,' and bulldozes everyone else, and they make sure they're the reason everyone loves the scene.
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The hardest part about improv is getting the audience to relax and enjoy themselves, because most improv is not very good, and the audience is nervous for the performers the whole time. Not that they don't even like the show, but they feel bad for the performers.
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I would be onstage all the time if I could.
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I never planned to be a comedian. I don't consider myself one now.
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People just associate me with comedy - not that I mind. I don't mind that at all.
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New York is almost as important as Chicago, improv-wise.
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I did a bunch of commercial voiceovers in Chicago before I left. For Balducci's pizza, I did a whole series. Actually I was making a good living with voiceover before I left.
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