Paul is a comedy director and writer, currently at Collegehumor.
He writes on the UCB sketch team Onassis and co-began a production company called LandlineTV.
He loves a carefully chosen lamp.
This is one of the single most important statements made about how to direct a comedy. I am not exaggerating. Shittier comedy directors focus on closeups, so you can see actors make silly faces. Great directors use more wide shots, so you can feel how everyone reacts.
We were shooting in a trendy bar and suddenly I ran into some classmates from film school and I could just see the way they were looking at me — with this big poufy thing on my shoulder and some actors and a scene lit with lamps from a discount home store — that they were thinking Doug’s lost it. Just that, like, this poor guy, maybe he showed some promise in film school, but he has clearly gone off the reservation. This is not how you make a movie on any level. There is no aspect of this that looks professional.
Something I don’t care to admit very often is my first job in NYC was at Anthropologie about 7 years ago. I was the terrible security guard who would just end up standing at the door and talking to the other people that worked there. One of them was a very likeable, charming person named Abbi. We both talked about how we were going to take UCB classes and encouraged the other to do so. Since then, we’ve unfortunately parted ways with one of the top leading women’s fashion stores, but we still are good friends. She has a show coming out on Comedy Central this week and it’s awesome. Watch it on the TV and then go by a scented candle, ya fuck.
I now understand the irony of him playing this when he had to spend his weekends in a wedding band while his weekdays knew him as an industrial thermometer salesman, just so his kid can get a new karate outfit.
Guest post by Will Hines, one of the best improvisers and comedians around.
After college, I worked at a rural community newspaper (“Rotary Club Debuts Public Bulletin Board”) and had a fling with a coworker - a not unheard of occurrence, but dramatic for young me. Her name was not Edna, but…
Yesterday was the 4 year anniversary of the death of our son, Fisher Daniel Kayne, who died at 34 days old. He fell ill within an hour of his identical twin, Truman, who survived the brutal coincidence of life-threatening illness and, eventually, thrived. Truman turned four last month.
I was asked to direct this extremely twisted episode of “Jake and Amir”, and I said yes because I love the series and also come on I’m not a dick.
I love directing higher production sketches, but there’s something really freeing about just grabbing a 7D and making up weird and interesting ideas as you go. It reminds me of making movies with friends in high school and college, which is the reason I do this shit anyhow.
Also it was fun because another director, Vince, was giving a presentation to some SVA students and they came and watched us do a few takes. It was a nice full circle moment where I realized I now look a lot older compared to college kids.
Some behind the scenes “squeeze”:
-All the blood/kicking shots were done practically, except the ceiling blood shot, which was done by Ed Mundy.
-The low dolly shot was done with one of those white boards you hang on your door in college that was lying around. The rug was smooth, so it worked out pretty well.
-Looking back on it, I think I had just seen that “Ozymandias” episode of Breaking Bad and subconsciously borrowed that dolly shot from it where Walt is crawling for the gun.
-It’s kinda hard to hear, but I added a slight female moaning sound every time Pat gives Amir mouth-to-mouth. I think that’s my favorite part?
-We had interns sew Jake’s tongue back in at the end of the day.