the elliott issue: interview with michael showalter

Michael Showalter might have honed his talents in an ensemble (The State), but he has developed into a
singularly irreverent and eclectic talent in the comedy world. Showalter is a true thinking-man's comic.
Showalter slyly undoes the idea of what constitutes "funny." He is more interested in what makes something
funny than merely telling a joke. Showalter is the writer of the cult film Wet Hot American Summer , writer and
director of the sweet, underrated comedy The Baxter, and a member of the surrealist comedy trio, Stella. He is
also a touring stand-up comedian, host of the web series The Michael Showalter Showalter, and a teacher of
screenwriting at New York University's Graduate Film School. His debut comedy album Sandwiches & Cats was also released last year. Intelligent and idiosyncratic, Michael Showalter constantly questions what comedy
is capable of.

Do you consider comedy an art form?
Yes. I think it can be. The British Office, I think, is as high a form of artistic accomplishment as anything I've
ever seen or read. Like any form of entertainment, there are levels. Sometimes comedy is intended solely as
commerce--as a product to be consumed. There's nothing wrong with this. I might not call Saved by the Bell art,
but it was certainly a comedy and I'm not afraid to admit that I watched it with great interest. On the other
hand, if you read David Sedaris or watch any of Woody Allen's great comedies or a television show like Flight
Of The Conchords, you can see where art and commerce in comedy begin to intersect.

Do you spend a lot of time thinking about why things are funny, or do ideas just come to you?
Both. Usually something will come to me and then I try to determine if it's funny or not. Throughout my
career I've always tried to keep a very open mind about what is/can be funny. I find the funniest things don't
necessarily seem obviously funny. I try to trust that what I think is funny others might, too. Sometimes I'm
right; oftentimes I'm not. Either way, I've always believed that the best comedy starts with the comedian
thinking: "This is funny" and then presenting it. Once there's a reaction, the analysis and dissection begins
because the audience reactions help you mold it. Ultimately, it's kind of a give and take. With comedy, for me,
if no one's laughing it's not funny.

Does working collaboratively yield a different type of material from you than when you write alone?
Definitely. Collaboration requires compromise on everyone's part, but the end result is something
uncompromised and new. It's like when you combine two musical notes--sometimes a third note is created.

What attracts you to perform in front of a live audience with Stella and your stand-up routines?
It's cathartic. There is a natural energy that comes out of doing live performance. It's very immediate and
visceral. It's totally different than, say, shooting something where the product is created in stages. In live
performance, everything is happening in real time.

From where do you draw the most inspiration for your stand-up material?
More and more, I try to draw from my daily life. What movies am I watching? What did I do that day? What
am I thinking about? What's bothering me at any given moment. Then again, sometimes I like just being really
silly and stupid and thinking of the stupidest thing I can. Like, Michael Black and I were thinking of writing a
bad 70's horror movie sketch called "Mashed Potato Man." The Mashed Potato Man throws mashed potatoes
at people. They are scared of him but it turns out that's he's harmless and that his mashed potatoes are really
good.

How long do you spend writing a full stand-up routine? What sort of process do you go through in its
creation?
Lately, I've been thinking of premises and then dialoguing improvisationally in front of an audience and then
saving bits for the next performance and then maybe adding something. So, most of the writing, if you can call
it that, happens during the performance.

You wrote, produced, and directed The Baxter, which is a really clever, sweet comedy. How difficult
was it to juggle all three roles?
Well, in a sense, the creative part was the easiest because I had the movie so clearly in my mind's eye. The
producer part was probably the hardest part in terms of taking meetings and being political. During the
pre-production phase, certain actors dropped out of the cast for one reason or another. These were terrifying
moments. Having to face the movie executives at IFC [Independent Film Channel] and convince them that it
wasn't a crisis was the hardest part for me because, internally, I was freaking out and feeling like the world was crumbling around me.

Of directing, you've said, "I let the actors change their dialogue as much as they want, as long as I
approve it." Do you believe in improvisation as a creative tool?
More and more, I find that some of the funniest and most surprising moments are improvisational. I think that
a combination of the two is the best.

Is your web series The Michael Showalter Showalter largely improvised? It seems there are brief
moments when you or your guests are trying not to laugh.
Yes. It's completely improvised. Essentially, there is a premise and the rest is improvised. The pieces are very
much assembled in the editing room.

How has the experience of teaching screenwriting courses been for you?
I love teaching. I really enjoy talking about the creative process and helping my students work through their
problems and find solutions. That is the creative process: problem-solving. I like to convey the message that
there is something very exciting about the process. A lot of people view that as the worst part. To me, the
journey is the reward, as they say.

Under what circumstances do you write best?
On the subway.

Can you ever lose perspective of what's funny when you are writing?
Only all the time.

You respect the work of Steve Martin and Woody Allen, among others who have enjoyed successful
careers that balance both drama and comedy. Have you ever considered doing more serious roles,
like your appearance in Signs?
I would always consider it. I love dramatic acting. The reality for me is that I would need to work very hard to
find someone willing to cast me so, for now, I'm just happy doing comedy.

You've said that "a lot of comedy ensembles have a hard time being critical of each other, because
they don't want to hurt each other's feelings." Do you still think that's true?
Well, I couldn't say because I'm not in the room with them, but I suspect so. It's hard because everyone's
friends and everyone wants to have input. The State was always excruciatingly, brutally honest with each
other about what was funny and what wasn't. It was scary but very valuable.

You mention that you always wanted to be a cartoonist, even displaying some of your "doodles" on
your personal website. Are there any other creative avenues you still wish to explore?
Many. I wish I knew how to play an instrument. I'd also love to learn how to cook. I think cooking is an art
form. I learned that from watching Top Chef.

What are you currently working on?
Right now I'm working on a solo book project, and also a pilot for Comedy Central with Michael Black.