I remember going to a show of a very famous comedian 3000 seat theater in Boston
And the comedian was just this tall in a little spotlight and I'm in the back and I'm going like what the fuck is this?
Like I should just be listening to this on a CD or something
But I thought like if I can ever get to a point where I could play theatres, I'm gonna use this space
I'm gonna use look
Look at those look at that rig up there. I mean look at this thing like this place could be bumpin
It's theater. It really is theater
can I get some, umm, get some mood lighting please just ...perfect
I don't feel at home in the world of stand-up. I like the people in it
But like when I go to a comedy club I'd be like what is like this place is not for me
It was always sort of trying to wrestle the things I loved about theater into stand-up which was you know
Staging and lighting and things like that
I would just go to a venue and okay have an idea that I want to black out in a spotlight here
so I have to sort of wrestle the show technically every night given what was in the space we were in
All right, the microphone wasn't even on and it worked
I wanted to build a show and write the show
For the space of a theatre a show that couldn't be done in the smaller space writing the bits
With the lighting in mind
all right now right brain, you're being insane. No left brain
I'm just being alive
And that bit was really like I saw David Hasselhoff,
a performance of him doing Jekyll and Hyde the musical and it's him being like come on and
It's all these light switches it was just beautiful
You see stand up in seat theaters, you see them in arenas
and it's the exact same thing that would be done in a comedy club just blown up
and you go to arena shows and you're
Like just watching a guy talk and you're just watching the television.
It's like man. This form is like limitless.
[Yeah]
It's put into such a silly silly box
The whole point was like we're gonna work on the technical aspects of the show and the jokes all at the same time
We're gonna test this show on the road as a technical thing in 1,500 seat theatres
We spent two weeks in a little garage with the full lighting setup before the show after the show
We would sit down and go. Okay that lighting cue didn't totally work. We would change lighting cues
We would you know test the lighting cue like a joke
The other day
the other thing was you introduced some film language and you actually do it like a
Movie and not just like a taped performance. There are pickups all over the show the country song
There's the dolly thing that goes on the front of the stage
If you pay attention you realize well
the camera can't be there the big sort of push crane push when all the lights come down and I go down there is a
Minute and a half of that last bit this film without an audience. I
Went to Kanye West's recent toward the yeezus tour it was a big
Dramatic theatrical show I have always been a fan of him deeply conceptually
I think he is an incredible approach to the theatricality of live performance and arena performance. He tackles arena performance in a way
No one else does he it's a really really economic use of lighting monochromatic lighting to st. Pablo toward this last one
I directed Chris Rock's last special ripped off that really is
It's just ripping off the Saint Pablo monochromatic sort of incandescent light for that
there's also you know factors in it that are just very unique to what it is, which is lighting specifically lighting an
Audio-visual are they specials visually are it's a very low bar to clear to be better than the average one
every stand-up special looks to me like
Conan live from the Chicago Theatre you get to a taping of a special and it's all this production put on to a hour of
Comedy, that's never been like that. Yeah. I mean it's purple lights and all this stupid shit and it's like it makes no sense
We made sure odd Carmichael's special one thing I want to do is try to make it an especially those alive cinematically, you know
like we're the
Camera movement and the angles for the texture of the light and the shadows meant something that the way the audience was lit meant something
The way that was shot meant something what I liked about it was you know, there's a very lonely experience for me out there
that's what it feels like it feels like lonely and anxious and it feels like a
Silly version of what? I feel like a lot of people go through
Hey guys
Kayla back here with another video the movies about
Kayla a 13 year old girl in her last week of eighth grade me my DPB tested before we even had money for the movie
Like how do we film screens practically? We'd wanted to film them practically for me
The stupid thing is like I hate like when people are tweeting in movies and the tweet like shows up
superimposed and that's when it gets like corny and weird to me and like a close-up of a shattered phone to me looks like
Gorgeous, you know, it looks like very interesting and cool. It was all interesting to me and significant to me
I think probably it's
Unsetting to people that maybe don't view it
Emotionally when you see people my age and younger that's are gonna start to be able to express
themselves in the film or other mediums
I think you'll start to see the internet talked about more emotionally and personally Barry Lyndon writing a letter by Candlelight
S' the most cinematic thing in the world but like a girl on her phone in the dark
Which literally is the candle and the letter are?
Fused she's got the cold light on her the cold white light of her phone and he's always in the doorway with the warm light
Of that which is then sort of the warm light in the dining room table
Which is the same as this sort of light of the fire. I mean, I found it always cinematic. I didn't really understand this
Oh sure phobia for it. Like it's a light source. I
Don't think you can be too proud of the special it's amazing. Oh, that's that's nice
Yeah, I think it looks cool
I can vouch for it on mute fully I can show you someone on mute and be like I mean
This is exactly how I pictured it on mute. I think it looks cool