Sunday, November 21, 2010

Ben and Brett as Stavros and Nikkos...



So Charna Halpern, the owner of the iO Theater, sent Ben and I on an audition for a movie on Friday. And wouldn't you know it, Ben and I actually got the f'in thing. Apparently, the part was originally written for the Sklar brothers but they dropped out; so Ben and I picked up the scraps like a couple of bottom feeding bristleworms. We auditioned Friday morning and were on set shooting by 5am on Saturday...

The movie is a romantic comedy called "One Small Hitch". Our characters are Nikkos and Stavros, two brothers with a wedding catering company. When the big shit hits the big fan during the main character's wedding planning, we step in and try to save the wedding. It was really fun and I think we did a pretty decent job. They even let us improvise a few takes. I won't know if they use any of our improvised lines until I see the movie, but it was fun to try either way!

I'd say the biggest thing I took from the whole day was surprise at the amount of people involved. I've done a few commercials, a couple of music videos and Michael Pizza has done some sketch stuff, but none of them came close to this. It's pretty intimidating to know that, if you mess up, everyone has to reset. The grips, the boom guy, the actors, the camera people; everyone.

Anyway, it was a real fun experience and I hope it turns out great! If not, let's make fun of Ben and say it was his fault!

I'm off to shoot an industrial for Phillip Morris that I was just hired for. I guess that when it rains it pours. If you feel a sudden, overwhelming desire to smoke a cigarette, I'll know that selling my soul to promote smoking was totally worth while!

-Brett "Nikkos" Elam

Thursday, November 4, 2010

Michael Pizza Video of the Week

Here is the new MP video for this week!!

Sunday, October 31, 2010

Ben and Josh at Chicken Hut



"Look everyone. I'm having my third cup of Pepsi!"









Ben can't wait to dive into that delicious Chicken Hut chicken.



















I can wait, but I only chose to wait until the picture was taken.

Josh

Wednesday, October 27, 2010

Restaurant Review: Paprika




Service: -1
Food: 6 1/2
Ambiance: 5

If you're into seeing one man impress you with how much he can do in a restaurant then go to Paprika on Lawrence, but if you want a meal when you're actually hungry and would like to leave when you're done than look elsewhere. There must have been a staff shortage because, the owner I'm guessing, was doing everything including: cooking, serving, bussing, and hosting.
The food was decent. I had the Basil Ki Chicken (sauteed chicken breast with tomatoes, onions, red peppers and basil). I'm not a huge proponent of Indian which makes me a little biased, but it was enjoyable. The chicken was tender and there was a burst of basil flavor in each bite. The garlic naan, which the owner/server etc. made himself in the downtime between orders, was very good. If it had been designed as a European slow paced restaurant than by all mean the slow service would have been fine. This guy just stretched himself to thin. Kass, Eric and I were able to laugh off the endless waiting. Paprika was in the "Best of Chicago" edition of Chicago magazine for their dessert. We didn't even get that far because that would have added another hour to the two we'd already spent in there before we could even get the man's attention to ask for our bill. Uhhhhhh! It drives me crazy just thinking about it. I shan't be returning soon.




Here's a sneak peek at Eric's review

Service 2
Food 7
Ambiance 5

Well someone needs to put a an AD in the paper for a server and that place is Paprika...

Saturday, October 16, 2010

le Michael Pizza


We had a super fun show on Thursday night at iO, for two reasons.

Number one, we just had a lot of fun onstage. At one point, Josh and I were breaking so hard that we each had tears in our eyes and neither of us could stop laughing. We just stood there for about 30 seconds trying to hold back the tears.

But the second reason why it was a really fun night is because, after the show, we met two really awesome women. One was from France and had brought her friend from Los Angeles ALL THE WAY to iO Chicago because her French improv teacher had recommended Michael Pizza. In a French improv class. IN FRANCE! I thought "surely she is mistaken and her teacher actually just recommended iO Chicago and not Michael Pizza specifically". But no, she assured me that her teacher recommended us! So, unless he was actually recommending "Michael's Pizza" (the pizza place near Irving Park that refused to return our phone calls about helping with our two year anniversary show), it seems like we are pretty much taking Europe by storm right now.

So, yeah, Charna and I are in discussions to open up L'improvisation olympique.

Monday, September 20, 2010

Yes (by Brett)

"yes is a world
& in this world of
yes live
(skilfully curled)
all worlds"

That's part of a poem from E. E. Cummings. He also said "I imagine that 'yes' is the only living thing".

Guess what? Michael Pizza just realized that we say "no" a lot in our improv. That sucks. When you realize that you are bad at something and you have been doing it, in front of audiences, for a while... that sucks. I'm not against explicitly saying "no" in a scene but there are times when you can say "no" but imply "yes". Here's what I mean...

Michael Pizza has been taught to always support each other in scenes. Somehow that manifests itself into always trying to be friendly. So, if Ben tells me that we're roommates and he's tired of me always being a dick and leaving my towels on the floor, I always end up saying "I'm sorry, I'll quit leaving towels on the floor". I said "yes" to the scene but, in a different sense, I just said "no" to a huge gift he just gave me. I'm a dick. I don't care about towels on the floor. At very least, I'm an oblivious roommate who will never pick up my towels. The second I start picking up towels and saying "I love you," I've denied the thing he just told me. I'm a dick roommate.

It probably sounds pretty obvious. And I like to consider myself a pretty savvy improviser, but these little gifts always seem to slip past me. So that is what I'm working on right now. Accepting and playing with the gifts that Ben, Eric and Josh give me.

I'll leave you with one last quote, because that's what I do. My ex-girlfriend always wanted to be a singer but she never had any clue where to begin. I tried and tried to help her but she was always too scared to take any step until she was completely sure of a course of action. So she never went anywhere. Anyway, here's a quote I like about that...

"The country needs and, unless I mistake its temper, the country demands bold, persistent experimentation. It is common sense to take a method and try it: If it fails, admit it frankly and try another. But above all, try something." -FDR

Saturday, September 4, 2010

My Favorite Michael Pizza Moments

After nearly every show we do Michael Moments. The moments usually focus around improv moments that were too fun not to mention, but sometimes we celebrate team victories such as; packing the Playground during Michael @ Midnight, getting our first iO run, or an idol of ours commenting on how great our posters are. We celebrate these because we know that if we really boil it down we're just a couple of guys on an improv team who take it really seriously. Improvisers are usually on a bunch of teams, they perform here and there and do this and that. I think we try to rebel against that. We're almost to protective of our improv team. We talk endlessly about sit-ins and what is the best move to make for the team. We really treat it like a business and that I love.

Its impossible to pick which is the best MP moment because they all hold a special place in my heart. Here's a good one that hasn't been mentioned. There's only been one or two shows where all four of us were there and we had a sit-in. We had Erica Elam sit in. Boy oh boy was that a fun show. Erica is great! Erica, Eric, Brett and I were all girls talking about getting a man to take care of us and finally we had gotten Ben to go to Erica's house with her. Eric, Brett and I went home with them and we hung out in the kitchen. Here's how the scene went. Ben and Erica are in the front room and we're listening to them behind the kitchen door. Suddenly we get distracted by all the food in the kitchen and just start eating various food items. Every so often she'd check back on us and we'd have nothing to comment about what she had in her pantry. It was loads of fun. In that same show we did another scene where Kass went to jail for something ridiculous. I popped in as a hardened criminal and then Eric popped in as an executioner and revealed I was sitting in an electric chair. He then electrocuted me. It all happened in the blink of an eye and was outstanding!



That was a fun show and I really thank Erica endlessly for playing with us.

Josh

Wednesday, September 1, 2010

My Favorite MP Moment

by Kass



My favorite Michael Pizza moment comes from the tail end of the show that made us Cagematch champs. This story does end, and it has a happy ending.

The first major goal for Michael Pizza was to win the 2009 iO Cagematch. We rehearsed for months to achieve a tight 20 minute show. The Cagematch was a bracketed tournament of two improv teams performing whatever form they desired. Then the audience voted for one group to move on. MP made it all the way to the finals! I can still remember how nervous we all were that night, but we channeled that energy into my favorite show we've ever done.

Toward the end of our 20 minutes on stage, there was a scene with Eric as an old man. I don't remember exactly how we arrived at a reference to Neverending Story, but all four of us quickly cut to Eric's old man character riding the dragon-dog Falkor (played by me, Brett and Josh) through the sky! We explored the whole stage like that as the crowd erupted in laughter and then applause! Two noteworthy details: this called back Josh riding Brett as a horse toward the top of the show, and Falkor turned out to be deathly allergic to carrots just like said horse. This scene was done with pure joy and complete acceptance as all four of us created something together. We won the iO Cagematch that night, and it was one of the best nights of my life.


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My Favorite MP Moment


by brett

Eric's blog got me thinking about some of the best MP moments that we've ever had. Man, there have been some pretty fun times onstage but one moment really stands out to me.

In our 5b performances, Eric and I used to play two characters backstage called Huck N Shuck. We were like college frat guys who always did secret handshakes. Well, during our "Michael At Midnight" run at The Playground, we finally had a chance to use those characters. We were messing with some girl in the high school hallway when we got a call from the commissioner (Josh). Apparently the mayor's wife had been kidnapped and he needed Huck N Shuck to save her. So these two douche bag jocks (who are also super heroes as we find out) fly all the way to England to stop a sadistic killer who is driving with the mayor's wife (Ben) all tied up in the car. We landed, punched through the car window and then threw the car across the stage. It was the first time in a show that we actually got cheers and applause from the audience!

That was also the moment that I realized that team work is always better than just "being funny". Nobody really did anything that funny in that scene, but because we all played together and everyone was involved, the audience loved it. In Michael Pizza, the "whole" is greater than it's "parts". What I mean is that the things we are capable of as a group are leaps and bounds better than the things we are capable of individually.

I can still clearly see the look on Josh's face when I lifted up the front of that object work car and he pretended to be flying away. Funny.


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It Started in a Shoe Store



by eric

In case you hadn't heard, we are about to celebrate our two year anniversary with a show that is basically an excuse to party with friends and colleagues. This is the first part of a collection on memories we have all shared getting to this point.

While the date of the anniversary show is September 5th we actually had a our first great show in October, one year and eleven months ago. Prior to that team defining show we had only done a handful of "barprov" shows and an opening for Pimprov that crashed and burned.

Flash back to late October 2008, Michael Pizza had just begun rehearsing with a new coach, David Montgomery, and we were anxious to try out a new form we had been working on named "The Parlor". The show was to be at CIC Theater in Lakeview on a Saturday night and if I recall we were the middle team of a three team line-up.

The air was brisk but pleasant as we stood in a garden at the back of the theater and warmed up for the show. We did all the standard warm-ups and moved into just practicing scenes. The mood was giddy and nervous as the four of us played together surrounded by plants. David arrived near the end of the warm up and gave us some things to think about before we went on and told us to "have fun".

Walking out onto the stage at CIC in front of a crowd is a great feeling. If you have never been to this theater, it seats about 40 and the crowd is right on top of the stage. Essentially it is a very intimate environment that makes it very difficult to miss any action. The patrons were in a good mood that night as the BYOB was flowing and we had a few friends in the crowd.

Our form starts with a four person scene at the top, in this case we were a family in a shoe store. I played a young girl trying on shoes, Ben was my Mom, Josh was my Dad and Brett was the shoe salesman (that would later become a character of his named Mike Cardealer). I am not sure what the suggestion was looking back but it was most likely shoe or boot.

The show hit the ground running from the top with four fleshed out characters at the top. From there we saw the daughter at school getting hit on in the hallway, the parents at home and even a commercial by the shoe salesman. In the end, it was a tight, funny and energetic show that had a great capper with Brett addressing a camera that had been filming a commercial all along.

The crowd went nuts an when we got off the stage and back into the friendly confines of the garden we all kind of looked at each other with big eyes and grins on our faces. It was kind of a "Did we just do that?" moment. Looking back it, it is hard to say how good the show was and if it would have stacked up with shows we do now but I know we all look back at that show with a certain fondness.

Afterward, we went the a bar down the street named the Longroom and had drinks, laughed, enjoyed each others company and celebrated what was the beginning a wild ride.


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Monday, August 2, 2010

Eye Contact



Kramer
Someone told me that Susan Messing said "Anything you need to know in improv is in your partners eyes." That about says it all.

Eye contact is a huge source of communication. Anything I need to communicate I can do through a glance. If I want to let Ben know I have nothing in this weirdo flame thrower game I easily can with a "Ben Help" look. Eye contact is so subtle also. When my Harold team Owl Farm started we were doing awful openings. They were honestly the worst things in the world. After a while, and Farrell hammering eye contact into our heads, they got much better. Its a way of communicating "hey guys! lets get on the same page here and stop throwing in random garbage."

I started re-watching some Seinfeld episodes recently. In one episode Kramer was refusing to meet with the cable guy because he had been burned by the cable company in the past. After being abused the cable guy gave up and gave a monologue to Kramer's door apologizing for the way the cable company had treated him in the past. After the speech Kramer opened the door and without saying a word, just using his eyes and body language, forgave him for all the abuse. It was such a funny moment, built up with the happenings of the episode, brought to an near pinnacle with the cable guy's speech and then knocked out of the park with Kramer's look of forgiveness.

Here's the link to watch yourself if interested. Its 6 mins.

http://www.youtube.com/watch?v=WhWavua-1FI&feature=related

Eye contact is easy to forget. In the beginning you have to remind yourself to do it constantly. After a while you rely on it. It becomes the impetus for everything. Sometimes all the improv jargon (improv has jargon. Isn't that weird.) and notes get me in my head and I need to remind myself to just look at my partner(s) and react. They're already giving me everything I need to know.

Josh

Sunday, June 27, 2010

"Gentlemen, we are not Knights!"



by eric

Recently Michael Pizza was given 4 shows on DVD by our friend Aadam Jacobs who films quite a few of our shows as well as The Scene's shows.

Ben Kass and I watched a couple of the better shows last night over my famous Chihuahua burgers and some summer ales. It is strange watching yourself do improv and you really get to see what you missed and what could have been done better. However, the one thing I really enjoyed watching was the things that I didn't get to see for one reason or another.

One moment in particular is from the "Medieval Times" show in which I started a game of the four knights on their horses doing their ride before the show. In the game, Josh's horse was acting up and not riding straight to the point where it looked like he was on an animatronic ride.

I was in the front and didn't get to see this happening and when I saw it on tape I was in tears I was laughing so hard. It sure is fun to make believe in front of a crowd each week.

We have posted this show online for everyone to enjoy and we will post more later this week!

Enjoy: www.michaelpizzacomedy.com

Friday, June 18, 2010

How Brett Got Here...

Tonight's Michael Pizza show was a pretty fun night. I was worried at first because our warm ups hadn't gone that great (I was being a little bit of a dick and everyone else seemed a little unenthusiastic). But, at the end of the night, I was pretty happy with the show we had done. The night was made up of singing ventriloquists, creepy janitors and slow motion marriages. Fun stuff. Michael Pizza is really starting to have consistently good shows, and that's exciting.

Lately, I've been thinking about moving to LA. My friend Cesar just made the leap and I also have a very close friend who is an animator for Disney out there. Add to that the fact that I've been writing a lot with Gary Richardson (from the Harold team Neapolitan) and I have booked a commercial or two lately, and I'm starting to think that LA may just be in my future.

Anyway, the little bit of success that I've had recently with Michael Pizza and all the thoughts of moving to LA have got me thinking about my past and how I got to this point in my life. I have lived a pretty weird life and I thought I'd share it with you. So, for those who are interested, here is how I came to be where I'm at...

I was raised in Memphis, TN. My mother was a school teacher in the Memphis public schools and my dad was a struggling musician who worked in wheat fields and oil rigs to pay for our family. Eventually, my dad starting performing with Roy Orbison (Pretty Woman, Traveling Wilburys, etc). You can still see my dad on old episodes of SNL with his huge red afro, playing bongo drums with Roy. Memphis is also where I fell in love with rap music. I used to visit my friend Scott in the bad part of town and he introduced me to rap. We lived in Memphis until Roy died and my dad moved us to LA so he could help with Roy's estate. I got super into art and drawing in California and I vowed to be a cartoonist. At least until we moved back to Tennessee.

Once I moved back to Nashville though, I pretty much gave up on art. I got really into anything and everything bad. Fist fights with kids in my neighborhood. Robbing people. Man, I was an idiot. But there were two major events that really turned my life around...

Number one: On my first day of senior year in high school, I was driving to visit my friend Terrence at his job at McDonalds. I had been having a little turf war with some guys from down the street and there was a lot of animosity between us. Anyway, one of the guy's older brothers pulled his car up in front of mine and slammed on his brakes. When he got out of the car, he punched me through my car window. My friends and I (Matt, Seth and Fred) jumped out of the car and started beating this dude up. Before we knew it, he had pulled a gun and, while trying to shoot me, had shot my friend Fred in the arm. The cops came and blockaded the street. We were laying on the ground with shotguns at our heads. I even had a cop tell me that he'd "blow my head off". Anyway, long story short: we beat that guy up pretty bad, took the gun from him and spent a year in court over the whole ordeal.

The second thing that happened was even crazier (this is where the story really gets weird). After that whole gun fight fiasco, we kind of quit being friends with Seth. For no particular reason, it just happened that way. Anyway, one day Terrence and I decided that we should break into Seth's house and rob him for anything of any value. True story. So we did. And, in the process, someone saw us and called the police. I got arrested at my job at Jersey Mike's Subs and Salads. My parents had to come see me in court in shackles and an orange jumpsuit the next day. It was crazy. In the long run, I was charged with aggravated burglary and theft over $10,000. A few felonies on my juvenile record but nothing too major. Weird, huh?

It gets weirder.

I went to college for music business. I started an independent rap record label. I released many albums and made a little money with rap music. Everything was cool for a while. Then, my rapper friend Luis (who I had met in juvenile detention for the aforementioned story) was murdered. My rapper friend Marquise went to prison for murder. And my rapper friend Lamont was murdered. All within a few years of each other. On top of that, my brother had been an amazing rapper but was starting to get burned out on music, so he quit rapping all together (here's his newest record for free if you're interested: http://ripcadence.com).

So, with no rappers left to produce and no real focus, I needed a new creative outlet. My sister was performing in a show called Baby Wants Candy in Chicago and, for Christmas, she got me a gift certificate to Second City. I had always fancied myself a funny, smart guy. Misguided, sure, but funny and smart nonetheless. So I did what any failed rap producer/wannabe thug would do: I moved to Chicago and started comedy. I met Josh and Ben in level two at iO and Eric in level four. We created Michael Pizza and the rest is history.

A lot of improvisers don't believe me when I tell these stories (it all seems so long ago that I hardly believe myself anymore). But ask my sister Erica or my brother Scott. Or, just get a few vodka/cranberries in me and ask me about the stories I didn't tell. Hell, some stories I can't tell because the statute of limitations isn't up yet. It's been a weird road to get to this point.

Oh, did I mention that I've worked with the country music artist Kenny Chesney for the past 7 years??? I can't make this shit up people.

Come see Michael Pizza on Thursday nights at iO Chicago. It's a four man show and our weird, fucked up lives make for some pretty funny point of views each week. And, if you see me play a thug character, I'm just doing a little Truth In Comedy, courtesy of my friend Lemont McLemore AKA Money Maker Mont (RIP).

Friday, May 21, 2010

The Shirt


by eric

This is the story of how the airbrushed t-shirt that Brett wore during our show last night came to be.

It all started with a Michael Pizza rehearsal over a year ago. Brett and I played a scene in which we were two airbrush artists who owned a small store on a boardwalk and were contemplating getting out of airbrushing altogether.

In the scene my character tried to convince Brett's character to not give up our dream. In order to show my appreciation for him my character showed him the airbrush shirt that I made him, "It's us riding dolphins that are jumping over a rainbow and it says 'wishes'."

I knew that day that I had to create that shirt and vowed to get it for Brett as a gift. As luck would have it I was in a Evanston mall months later that had an airbrush art stand.

I approached the "artist" and told him my idea. He sketched it out and then said, "So the guy and girl are riding on the dolphins?" I told him yes, but it actually would be a guy and a guy riding the dolphins. There was a brief silence met with a "Oh, hey that's cool man, whatever." I proceeded to tell him a little of the story of why I was making the shirt and that seemed to put him at ease.

So about an hour later there it was, the first ever made up prop from an improv scene brought to life.

Brett said he would wear it to a show but had yet to do follow through so I knew that my birthday would be the best excuse to introduce the shirt to the world. So world, you're welcome.

Thursday, May 13, 2010

Improv Marketing


by eric

Recently in Michael Pizza we decided to each take on certain tasks that need to be done for the sake of the group. I took up marketing, Brett is now or video liaison, Ben is the man in charge of finding time and space for rehearsal and Josh keeps everyone's schedule in order.

Marketing a four man improv group in a city that has more four man improv groups than pigeons is a daunting task. We don't talk in Shakespearean dialect, we don't have a 5 piece band and nobody in our group is named Tim Meadows. So how do we make a name for ourselves in the improv world?

The first answer that might pop up is, "Be a great improv team, do good work and make people laugh." It really is as simple as that but it also is not the answer. Of course Micheal Pizza is going to strive to get better at the art of improv through workshops and rehearsals but how do we supplement that?

In my opinion, we take what we do best and we amplify it to the nth degree and what Michael Pizza does best is have infections, joyous fun on stage. That is why it has become my goal this summer to let that spill over into our marketing. We have a huge 2 year anniversary show coming up in September that will be unlike anything anyone has ever done, or at least since I have been in Chicago.

That is just one idea and definite event that will be happening. There are tons more that will come along that I can't share right now since the details are still be hammered out but rest assured they will be injected with that same Mike Pizza fun that has become our staple.

Hopefully we can find the time for it all!

Wednesday, May 12, 2010

Knowledge

Josh-




I saw Stubs last night, starring Brad Morris and Dina Fackalis. Brad Morris played this guy named Hiroaki Aoki, the guy that started Benihana. Aoki was giving a demonstration on cooking while swearing up a storm. Not only did Brads Japanese accent crack everyone up but he seemed to display so much knowledge about Benihana. I was pretty sure he was just fudging all the info about the restaurant, but to my surprise it was true. That's the actual name of the guy that started Benihana! How did he know that?

This brings me to my point. You can make up anything in improv. Its hilarious when people say that the plane weighs 50 tons and go into some bull about how the jet engines work. But it's downright amazing when people have actual knowledge on something. In Ben's last blog he mentioned how I like to learn. I do. The world is interesting, but another reason is if my scene partner decides to make us soldiers I want to be ready with some cool facts to detail our scene.

During one of Bill Arnett's classes he told us that sometimes when he walks around he likes to look at people, guess what they do, and then give a couple lines of dialogue as that person doing their job. He also had us do an exercise where we went around in a circle, someone would give the next person an occupation and they had to give five lines of dialogue speaking as that person without coming out and saying what occupation they were. For example; if dentist was given- "Your bicuspids look out of order, this practice wouldn't be shit without the sexy hygienists, if I whiten your teeth for free I'll have to do it for everyone, I'm only gonna take four bite wings and then you can get outta here, the DDS stands for honor.




















Here's a real cool website that has a terminology data bank for all sorts of occupations.
http://www.uwasa.fi/viestintatieteet/terminology/special/

The best improvisers are also the smartest people, so if I want to be within that realm I've got a lot of catching up to do. Eric like to bust my balls because what I consider a tough day he considers relaxing. On Sunday I watched 24 hour party people, read a couple plays, listened to a few albums and then saw Family Tree House Boat Accident. That's a tough day to me.

Monday, May 10, 2010

Learn to Learn



In improv, I can do anything. Sometimes I'll initiate a scene or add details that put myself and my scene partner in a place where neither of us really know what we're talking about. For example, I like space shuttle scenes where the astronauts are naming buttons and valves and use jargon that we make up. We're still astronauts, though! Improv, right? This is fun to do and can be very entertaining! The audience simply believes us, or knows we are obviously feigning the knowledge and references of NASA. It's like they're in on the joke with us. No matter how ridiculous we get, it's fine as long as we sell it! If there happens to be an astronaut in the crowd, he or she might be knee-slapping because they actually know the jargon. No one would expect that kind of expertise from an actor, let alone an improvising one. But...what if we did know a thing or two about space shuttles?
Or f*ckin' magnets- how do they work?! (Thanks to ICP, the inspiration for this entry.)

The more I watch veteran improvisers, the more I realize that the majority of them are exceptionally smart and aware of the world around them. Some performers drop way too many references, often at the expense of the piece. I can only watch someone show off how much he or she knows about prairie dogs for so long, even if it is science fact. However, the best of the best seem to walk the tightrope of playing to the top of their intelligence while still being emotionally invested in their scene partners and enriching the show as a whole. They do not get snagged in the net of showing off their own cognitive prowess. (e.g. saying something like, "cognitive prowess".)

Here's something I love about Josh Logan: he will avidly delve into random things, like space shuttles, out of mere curiosity. He borrows plays from me because he wants to know about different theatre styles. Similarly, I'll catch myself looking up something like cashews on Wikipedia for no apparent reason. We just like to learn. I am not suggesting that improvisers should start learning facts just to regurgitate them in a scene. I would suggest strengthening your craft by learning- learning about anything. Is there something that you've always been genuinely interested in, but have never gotten around to checking out? At the risk of sounding like Levar Burton, take a look! It's in a book! If acting holds up a mirror to us and our world, then we as performers could and should know more about it. If we want to play to the top of our intelligence, then why not be more intelligent so we can play at a higher level?

There is no destination with acting or improv. A genuine performer is not going to wake up one morning and realize, "Wow, I've arrived! There is nothing more I can do to improve my craft. I don't need to learn anymore." A true master of any art is never beyond learning, "but don't take my word for it". DUN-UH-DUNT!

Ben

Sunday, April 25, 2010

Poor Choices Podcast

by Eric

poor200k

We recently did a podcast with the guys from Poor Choices. In it we talked about MP’s future and how we started. We also did a bat. Which for those who do not know is an audio improv show.

Take a listen!




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New Website

by Eric

Well it is finally here. I decided with all the craziness subsiding that involved the 2010 So ILL Improv Festival I would create the first Michael Pizza website. The site will likely evolve these next few months as we try different things out so please check back frequently.

Check out of blog as we will update it weekly as well.

That is all.

Monday, April 12, 2010

Party and Show

Just to let everyone in, MP is planning a blow-out Anniversary show that will also serve as a fundraiser for a party for all of our closest friends and fans.

It is gonna be fun.

Wednesday, March 17, 2010

A lot of people have been asking for the words to the rap song that Michael Pizza performed at The Del Awards last night. So here ya go...

Brett:

This song is dedicated to all my fallen homies
The soul of Del Close is in the building
The soul of Fat Kid is in the building
The soul of The Signatures is in the building
And we're gonna do it like this...

In all black, by the casket saying RIP/
To all my fallen soldiers from RGB/
I thank God it wasn't me whenever Charna swings the ax/
Face the facts, Shadowfax aint never comin' back/
And Electric Mayhem, you should have been on this song/
But your gone and I still can't figure out what went wrong/
It should have been Owl Farm but a bullets got no name on it/
So to honor you I got a tattoo with your name on it

Eric:
It was scenes and games homie, but no one ever told me/
That in my quest we'd lose Hunter Family Crest/
It was like someone up and turned out the lights/
Leaving me standing in the darkest of nights/
My eyes couldn't see so I stumbled and I fell/
A hand, a body, the late Lionelle/
This walk, these struggles, this game, these fears/
I dedicate it all to Willie Nelson Slept Here/

Ben:
Fallen but not forgotten
Fallen but not forgotten
iO, iO, iO x3

Brett:
I got my hat pulled down to my eyes/
As I swerve down Lake Shore Drive and I'm just glad to be alive/
Cuz a lot of teams didn't survive/
I saw The Council, it was like they never even tried/
I get fried, high as hell and reminisce on Swanel/
Sip on a 40 ounce and pour some out for Lionelle

Eric:
And talk about Troy, oh boy bitch/
The team went belly up like a coy fish/
And The Bird and The Bison, you best be forewarned/

Brett:
These streets'll leave that ass cut like Airbourne/

Eric:
And I was shocked to hear about Shock Corridor/

Brett:
Chopped down like an Orc but this is not Mordor/

Eric:
This is real life man, and Charna needs proof/

Brett:
Alacazam, Street Magic disappeared like POOF/

Eric:
You want the truth, you might as well not bother/

Brett:
The Commission cuts any team not named Revolver

Ben:
Fallen but not forgotten
Fallen but not forgotten
iO, iO, iO x3

Josh:
Do teams get to go to Heaven? Do teams get to go to Heaven?
Lord I need to know right now, do teams get to go to Heaven when they die?
Whoa
We didn't forget about you dog
Whoa
Michael Pizza on thursdays!
Whoa
Neapolitan you're cut, Neapolitan you're cut
Whoa, whoa
For all my fallen homies, for all my fallen homies
Like the Kangaroo Dudes, Oh The Kangaroo Dudes
Shake it Signatures, shake it Signatures
Electric Mayhem, Oh Electric Mayhem
City of Chicago, city of Chicago
Rosemont
Shaumburg is in the building
Napierville is in the building
Skokie, city of Skokie
Evanston knows how to party, Evanston knows how to party
Aurora's in the building, Aurora's definitely in the building
Gary Indiana, Gary Indiana, Gary Indiana

Tuesday, March 16, 2010

Del Awards


by Eric

Tonight is the Del Awards and Michael Pizza is nominated for Best Non-Harold Show. We are up against the best of best (Improvised Shakespeare, 3033, etc) so we don't expect to win this one but it sure was a huge honor to be nominated after only half a year at iO.

Brett was also nominated for Sexiest Male Improviser but this is a tough one to win as most people go after the least likely to win. Ben was nominated for Best Inanimate Object as a plane in an Owl Farm show. I think he actually was one wing of a plane.

Michael Pizza will also perform a rap to honor all the cut Harold teams. So many cut Harold teams. We will let you know how it goes!

Monday, March 15, 2010

Yes, and... in real life

Josh

Yes and... is an improv concept that I hear all the time. Teachers push the idea of Yes and... non stop. I sort of got it in a half asses minor understanding way until recently. I'd think I was doing it, I'd have ok scenes, so does that mean I'm putting it to work. Doing this for longer the concept starts to get deeper meaning, my knowledge of why these concepts are so important start to reveal themselves. Partly because I'm really trying to "get" them and partly because they're out there and you just have to pay attention.

Yes and... is accepting what someone does, says, thinks, gestures and using it. You and your partners are building a world where everyone throws something in. Everything is usable, from the slightest mess up to an unintended facial tick. On stage if someone calls you a doctor you yes them by becoming a doctor. The "and" comes in when you respond with some sort of "gift" also. Perhaps you state what kind of a doctor you are, or even give an expression that defines the way you feel about your partner. It's such a great concept and so useful in scenes. It's really the only thing! But Yes and... goes deeper than just a two word combo that is the blueprint for good improv scenes. iI is also a great more fulfilling way to live.

That may seem like a hyperbolic statement but it's not at all. It's imperative!

The Situation: Brett Elam, Jill Goree, Dylan Kiney and I were watching Nanny 911 the other day. My sister has some wild kids, so I like to get advice on curbing their behavior from anywhere I can. I also like pointing out the rediculous gimick of having an British nanny that drives in an British car in America.

Brett's Story: We were exchanging memories of our parents parenting skills and Brett had a pretty great one. Brett's mom had made him a schedule when he was younger. I guess she was just trying to organize his life. Good parenting! Brett took the schedule and in turn made one for his mom. What! The schedule laid out things for his mom such as when to cook dinner and when she was allowed to smoke her cigarettes and read her book. Most parents wouldn't have it. They'd either laugh it off or get angry. She did one better than both of those. She sat down and looked at it. She accepted it and explained to Brett that she didn't need this much time to prepare dinner. Brett had allotted her two hours. She Yes and'ed it. She got together with her tenacious son and they worked together to make a better schedule for her. I still haven't asked what the revised schedule allotted for dinner.

My Story: I was more excited about that story than I should have been. I recognized it as yes and... I saw how that simple concept of accepting anything and using it is the best way to be about everything. I am a chess teacher for kids. The job pays nothing so I may not be doing it for very long. The kids are great though. They are so funny. There are, however, some real wild ones. Not all kids love chess. It's hard to believe but it's the truth. The day after Nanny 911 I taught a class and attacked. There are two kids in that class who don't have any interest in chess. They really only want to say things like butt and poop and other kid swears I'd ordinarily love, not in a classroom setting. I decided I was going to try to yes and... this behavior and teach them something. They honestly knew nothing. I sat down with them one at a time and ran through all the pieces. They both didn't know what any piece was called or how it moved. Here's what we did. I sat with the first kid and let him call the pieces anything he wanted. Here's what he came up with; Bishop=boogers, Knight=fatty, Pawn=tooty, King=king crab, Queen, Poopie and the Rook was deemed DSI! Those are brilliant! I went through one more time explaining how all the pieces move, but the only difference was I called them by his names. Fuck, it was so much fun! He actually remember and still remembers today, which is three weeks later. Eventually we ran through contrasting his cool names with my stupid names. This was also fun because we would say things like "What was the cool name you made for this piece?" he'd answer "Fatty!" "Good, now what's my stupid name that my dumb face calls it?" "Knight" he's say with his tongue stuck out. They got it and we both had a terrific time getting there. I yes and'ed his contribution and look what we ended up with.

It hasn't been that long since that moment, but I have been trying to find it everywhere and in everything. What other improv concepts can I apply to my everyday life? Why the hell did it take me so long to realize this? Is this a big deal? I'm relatively smart. Oh well. Improv is great.
It's greater than we all realize. If you want to get foofy foofy with it we can. It's also just a cool way to be. Thanks for reading.


This is where you come in. Yes and...

New Michael Pizza Video

Josh

This is the latest installment of Michael Pizza's video campaign. The Travel Channel gave us a decent budget. After a firm handshake, Brett and I agreed we'd split the money equally and spend nothing on the video.

Friday, March 12, 2010

A move I loved

by Eric

So last night after our show I watch "The Scene" or the all-star show that we open for. There was one moment that I loved that was so simple. It was TJ Jagadowski and Brian Wilson playing a father and son. Brian, the son, told TJ, the dad, "you can never do anything when you are drunk." TJ responded with "No, there is so much more I can do when I am drunk."

I loved this exchange because right there it gave both characters depth and informed us for their upcoming silly run that they did. It might not be the best example of "yes..and" but it sure did set the stage quickly and efficiently in terms of characters.

Wednesday, March 10, 2010

Treatise (part 1)

Josh

Writing is a good way to gauge your own understanding of an idea. If you think you know something writing it down can show holes in your knowledge or how well you understand what you're trying to transcribe into words. The Michael Pizza guys are experimenting with this idea. We've decided to write a treatise on a topic that is important in improvisation. Here's what we've decided for each of us.

Josh- Being Concise
Ben- Support
Eric- Yes. And...
Brett- Agreement

I'm not exactly sure the other guy's take is on their topics, but my plan is to watch and better still, listen, to great improvisers around the city and note their words. Who best sums up ideas quickly? What does it mean to be concise? How do they do it? Is it practiced in life and then translates to the stage? Really, any idea that fits into the "conciseness" category I'll try to explore and post my findings to be criticized and added to.

Monday, February 8, 2010

Improvise by Mick Napier

I am currently rereading Mick Napier's book, Improvise: Scene from the Inside Out.

This is my favorite book about improv because it concisely addresses so many problems and issues of a performer, such as blanking at the top of a scene or how to get out of your head and play. It is written by an improviser for an improviser. I first read this book back in 2005, and have gone back to specific chapters/sections every so often to address a specific issue.

I highly recommend Improvise for any performer at any level!

Kass

Our Second Michael Pizza Video (by Josh)

(Josh)

2010 is going to be a huge year for Michael Pizza. I say that because I'm dumb. I refuse to believe that the amount of work we're putting in to both marketing ourselves with vids ect., creating new production ventures and improving our craft can result in anything bad or nothing at all. We're taking on a lot this year and it's only Feb.

As I type, we am in Tennessee with our lovely film crew shooting a sketch of a single dad who adopts the ghost of a dead murdered fourteen year old boy. It's looking funny and legitimately like there's a ghost in Brett's Nashville house. I can't wait to post that one. It still needs a lot of work though.

Here's a video we made in Chicago a few weeks ago with our Chicago film crew.





Friday, February 5, 2010

Our First Michael Pizza Video Short

by eric

These days more and more comedy groups are getting in on the comedy shorts craze. As an improv team Michael Pizza always knew that there would be a time for that so we went about gathering ideas for video sketches. The first one we did is about an awkward moment between a news reporter and a witness.

I suppose the interesting part of this blog post (other than the video) is to tell you how this idea came about. Michael Pizza did an interview for a local PBS show and in the interview they were having mic troubles so we had to "share" mics. That meant putting a mic on two of us and the others had to lean in a bit and get close in order to be picked up.

Josh and I were having fun with this idea by leaning across each other when one of us wanted to speak. If I had to describe it, it would look like we were trying to look over each others shoulder.

This made me think that it might be funny to see what happens when two people have to share a mic in close quarters. For the sketch we used gunshots as the excuse for our two subjects to get even closer. I suppose you want to see it now that I have talked about it

Well if you haven't seen it already here it is:


Brett's First Michael Pizza Assignment...

When we first created Michael Pizza back in level 4 at iO, Josh and Kass and I would get together just to talk improv. We would just practice scenes, write sketch ideas or just sit around and talk shop. One of the things that we did was give each other assignments. We'd say "you have to write a sketch based on the suggestion of 'hope' and present it to us in one week". Or "you have to meet someone and find out 5 unique things about their job". Or whatever. These are just examples. Anyway, our first ever Michael Pizza assignment was that we must each write a short story. We gave each other suggestions and we each had a week to write it. It could be funny or not. It didn't have to be well written. It just had to be a story. I remember that Josh's story was about fairies fighting in the woods. Kass' story had something to do with him hiding in a barrel. I got the suggestion of "lantern". I told myself that I would just start typing and see what came out. Well, tonight I was cleaning up my desktop and I came across that story. Here it is for those who are interested.

By the way, if you have a creative assignment for Michael Pizza, send it to me. That'd be really fun for us. We'll draw/write/sing/rap/build whatever you tell us to. Then we'll post it up here for you to judge and criticize! My email is brettelam@gmail.com

Enjoy the story...

PART 1
Suddenly it all came rushing back to hit me like a tidal wave: The forest, the pack, the burning in my stomach that grabbed my guts and squeezed fire. I raised my head and winced at the pain. I thought about Lisa and the baby. I thought about the apartment and the bill collectors. I thought about the 4 hour drive to Hollywood from Fresno and how the trees that lined the street grew gradually more kept, how the homes got larger and fences that surrounded the yards more ornate. I thought about the hour that I sat in that old Cutlass outside of GlobalComm studios, wishing, praying that there were another way.

Then I remembered: they’re still out there. I put one hand underneath me and used the other to grab my stomach, as much to quell the pain as to keep my stitches from busting and spilling my insides across the leaves. If I had had a latern or a flashlight, I could have seen in front of myself, but the trees had grown so dense that their upper branches stretched and grabbed, intertwining to create a canvas thick enough to erase the moon. I couldn’t have used a lantern anyway. No doubt they had infared vision and their cameras and filming equipment were certainly capable of detecting heat. I’m no fool. I had seen this show before.

It had been one of Lisa’s Tuesday night favorites before we lost our television. I would tell her to turn that junk off and quit reveling in other people’s misery. I told her that it wasn’t reality and it was edited to be much more interesting than it really was. But she was fascinated and every Tuesday night like clock work, she “had to catch her program”.

I admit, I myself had seen it once or twice before. When Lisa was at her mothers or when I had stopped my rig at a truck stop on my way home from some big drop in the middle of nowhere. I had sat and watched this show, feeling ashamed that I had rode her so hard and was now, myself, giving in to the guilty pleasure. The violence had been so gruesome, the distress so immediate, the chase so compelling, all of it just seemed so real…

Blindly, I stumbled through the dark. If I could find a place to wait until morning then I could at least see what they saw; even the playing field. Had any contestant ever lasted until morning, I wondered? How long had I lasted? It was daylight when they had put that pack on my back, shoved that blade into my stomach and kicked me out of that ‘copter. How long had I lay there? How long did it take to weave those crude stitches with my trembling hands? Hours? I had passed out, from fear as much as pain, and it had been dark when I awoke.

I ran through the night.

PART 2
It was spring when the bill collectors started coming to visit. At first they were pleasant enough and understanding. I had explained that work was slow and companies just weren’t shipping, what with the gas prices how they were. There were very few rigs even on the street these days, much less working steadily. I explained that I had gotten a job at the power conservatory, but it had required me to work nights when no one was home to watch Aaron. I told them my wife had been working at a diner on State and Chavez but the only shift they were giving her was the late shift. Nobody could stay with the baby and we couldn’t afford help, I explained. I would have the money next month, no problem, I promised. But next month always turned into the month after and soon they got mean.

Once, they chased Lisa into the alley behind the Alpha Beta and only left her alone because the store manager came out with the trash. “They were only trying to scare you,” I assured her, but she was convinced they would have hurt her. One afternoon, they broke into the apartment while Lisa and I were making love and scared Lisa so badly that she screamed and woke Aaron up. They said they were taking everything even though I explained that we had already pawned anything of value. They left with the baby’s crib and similac formula.

The final straw came one summer night when Lisa was at her mothers. It had gotten sweltering hot and I guess the heat and frustration had gotten to us, because we got into it about something and we screamed venomous hate at each other for two hours before she left. Now I don’t even remember what that fight had been about. But thank God she was gone that night, because she probably would have taken Aaron and walked out for good had she been around for what happened next.

I was asleep on the sofa by the window, hoping that the night might cool some. We had sold our window air conditioner and the heat was causing me to have horrible nightmares. When I opened my eyes, there were three men standing above me. I jumped to get up, but two caught me while the other grabbed my legs. It was dark, but I could recognize one of them as the man who had broken into the apartment in the past. He leaned down so close to me that his lips touched my ear when he spoke. “I’m gonna drown your baby,” he whispered. “If you don’t pay what you owe, I will take your son and throw him in the river with his crib. That’s where he’ll sleep from now on,” he promised. Then they beat me. I remember that it hurt, but all I could think about was Aaron’s tiny body being found in the quarry. What he would look like. How scared he would be before he died.

When I told Lisa my plan, she cried. She begged me not to go through with it. She pleaded for hours and threatened to leave me, but in the end she knew that there was no other way. “It’d be exciting,” I told her. “What other wife could say that her husband starred on her favorite television show? We could start another life with the money,” I explained. “We could send Aaron to college. We could be happy.”

When I dropped Lisa at her mother’s, I told her not to worry. Then I kissed Aaron’s forehead and stroked his thin blonde hair, promising I’d see him again.

PART 3
The morning was filled with a thin blue haze when I awoke. Only an occasional creak or chirp interrupted the swaying of leaves. My stomach was swollen and the stitches tugged at the flesh. I looked around and wondered what to do next. Had they forgotten about me? Was the hunt still on or had some miracle overtaken them, causing them to give up the game and let me walk away?

In a second, my question was answered.

The crack of a gun interrupted the silence and something zipped past my head, ripping leaves and spraying tree bark on my back and neck. I rolled, but the pain from my stomach was so severe that I vomited blood into the dirt. I scrambled to my feet and tried to run into the brush, but was met by two men with cameras. Behind me, men started screaming as the gun cracked again and an ATV revved.

I can’t remember much after that. I ran, I know. I remember thinking that the strength of my legs must have drained through that hole in my belly because I could barely support myself. I remember yelling “please don’t” and knowing it was pointless. I remember a third gunshot and I remember that my back screamed and my chest opened up. I remember falling over tree roots and I remember the slivers of sun that peaked through the branches as I lay there. I remember the faces of the men who stood above me and I remember the cameras. I remember that they taunted and laughed, high five-ing and cheering the chase and the job well done. I remember.

I remember that Aaron was there. It was the day he was born and he was beautiful and new. I remember he was in his crib and his tiny hands touched my finger and his eyes were huge and he smiled. I remember that Lisa was with me. She was wearing her yellow dress and her hair was tied with a string, just like the day we met. I remember that she put her face in my neck and she told me she could feel me and that she’d never let me go.

Tuesday, January 26, 2010

"Oscar Moment" improv exercise!

"Oscar Moment" is not a new improv exercise, but it is a less common one that I think deserves attention. It's a rehearsal tool that reminds players that you can still have quality, realistic acting in improv! It is also a chance to open up the "emotional floodgates" and learn that it is okay to take the spotlight once in a while. The name suggests those sixty-second clips of nominees on Oscar night. Here's how:

Decide beforehand who will get the "moment" in a regular two-person scene, and then have the coach (or someone from the sides) shout out, "Oscar Moment!" when they feel it coming (even if the scene is two people making sandwiches). Then an emotionally intense monologue ensues, worthy of an award! (Plus, if this realistic drama takes place during sandwich-making,it could be incredibly funny). The coach (or other players)can call "scene" when that monologue feels concluded (the tendency is after a minute or two), or let the scene continue with the scene partner. I like stopping right afterward and talking about how it felt and what people saw/felt as they watched. Usually this monologue is spoken to your scene partner, but if you feel like telling the audience, go for it! However, it can be really rewarding to be on the receiving end in this exercise. You get to support your friend's choices with your reactions. You could certainly verbally respond during the "Oscar moment", just remember that you'll get your turn, so help your partner shine.

The first time I tried this, it didn't go very well. It was because I hadn't chosen to care about anything or anyone in the scene before my "moment" arrived. Deciding how you feel in a scene is good advice for improv in general, but it is paramount for this exercise. It also makes it easier for the coach or fellow player to find where they want to see that Oscar-worthy monologue. As with all improv exercises, there are no set rules, so feel free to try variations!

Monday, January 25, 2010

Ask for the butter


Josh

"I know nothing except the fact of my ignorance." -Socrates
For me it's the same. These are my unfinished theories and current philosophy. Take them or leave them.

I just heard something that I thought was brilliant. I started watching Studio 60, which is a tv show about a comedy tv show similar to Saturday Night Live. There was a line of dialogue that really hit home with me. Harry, aka Harriet, the female cast lead asked her boss (for those of you who are interested is also her ex-boyfriend played by Matthew Perry) "I got a laugh at the table read when I asked for the butter in the dinner sketch, I didn't get it at the dress, what did I do wrong? What did I do wrong." Perry responded with "You asked for the laugh." Harriet "What did I do at the table read?" Perry "You asked for the butter."

That is a brilliant way to look at comedy. Live in the moment. Some people pander to the audience but true performance is about portraying a character and not looking for validation from a chorus of nameless strangers. I forget who, but I was told about an exercise where someone would go to the other room and pick up a pen. Then, someone else goes and picks up a pen from the other end of the room, only now everyone watches them. The results were that when watched, the pen picker uppers, looked as though they were being watched. Something was off. There was now this self aware performance of picking up a pen. Just pick up the pen. Just ask for the butter. Acting is at its best when it's not conscious of itself. So is comedy.

Thursday, January 21, 2010

Everything is important

In improv, there are great scenes and not so great scenes. And, as young improvisers, we are constantly struggling to learn what makes bad scenes so we can steer clear of it and what makes great scenes so we can focus on it. Is a scene about a pirate who was cryogenically frozen and thawed in the year 2010 funnier than a scene about two people typing at a desk? The premise certainly sounds funnier to me. But here's the thing: No idea is ever really funnier than the next. You can take a hilarious premise and give it to bad improvisers and they will ruin it. Or, you can take a boring premise and give it to Cook County Social Club and they will turn it into the funniest thing you've ever seen. The reason is because the PLOT and the IDEA don't matter! What matters is listening to the last thing said, no matter how insignificant it may seem, and then responding. EVERY LINE IN IMPROV HAS THE POTENTIAL TO BE GOLD! Example...

I got a note from Cesar Jaime one time that completely changed my improv. I was in a scene with an Owl Farm teammate and we got the suggestion of "scientist". She initiated with "my bunsen burner is broken". I responded with "screw it, let's go to the beach". I thought it was a funny idea to see two scientists at the beach, but I completely disregarded my partner's initiation. We played the beach scene unsuccessfully for a minute before Cesar stopped it. Then he made us go back and play the scene again. But this time he told me not to try to make it funny, just listen and respond to what she said. It became a hilarious scene about two scientists who were more and more downtrodden by all their malfunctioning equipment. In my head (I'm embarrassed to admit) I had thought, "I'm funnier than her, we should just get away from her idea and get to my idea as quickly as possible". What a terrible way to think! Here's a better example of the same thing...

I have been addicted to The Sopranos lately. I've seen it before, but I always go back and start over at season one. The writing is amazing and James Gandolfini is perfect. Anyway, here's what I've noticed. In The Sopranos, there aren't any throw away lines. Nobody ever talks just to fill up space. Every single line is there for a reason. In improv, we should strive to perform the same way. Every line should be important. If somebody says that they burned the toast, you need to feel something about that! Take it personal! Are you mad because they burned the toast to spite you? Are you scared because they burned the last piece of toast in your underground WWII bunker? Do you feel redeemed because you've told them over and over again that the toaster is plotting against you? Here's the promise that I'm willing to make: If you decide that the words your scene partner says are important and worth FEELING something about, you will have a pretty good scene. On the other hand, if you simply try to be funny without reacting and responding to what your scene partner said, you'll fail. Maybe the untrained audience will think you are hilarious and your scene partner sucks, but the improvisers in the crowd (and most of our audience are students and improvisers) will recognize that you're more worried about being funny and less worried about supporting your teammates.

-Brett

Wednesday, January 20, 2010

Listening and Reacting (Josh Logan)



"I know nothing except the fact of my ignorance." -Socrates
For me it's the same. These are my unfinished theories and current philosophy. Take them or leave them.

My first draft of this blog was long and dealt with several ideas about listening and reacting. I realized I could write twenty papers from various viewpoints on the same topic. This blog will deal with how I feel the two relate and rely on one another.




Think about listening and reacting like a ying yang sign. Ying being the listening and yang being the reaction. They need each other. First you listened to what is being said. Really listened. If your scene partner delivers a line than it is your duty to react to it. They've just given you a gift by simply saying something to you. Give them a gift in return by reacting to that line, not something else but their words. What is a reaction? Reactions can be verbal or non-verbal. If my line was "Screw the newspaper!" and you just stood there than you are not reacting. If you were to hear that same line and say "What! The newspaper! Screw the newspaper? No sir!" than you have successfully reacted to my line. This dude obviously doesn't feel the same way about the newspaper. Now there are countless things you could have chosen in place of that one. You could have chosen to gasp, which would get across the same point, or you could have agreed and had a similar view on that nasty 'ol bothersome newspaper. The point I'm trying to make is every line needs to be listened to (considered) and reacted to. There are huge reactions and tiny almost insignificant ones.

Let's move through a basic scene
"It's cold outside"

-If that's the initiating line than react to it-

"Oh no! I gotta go to the store. I should wear a jacket so I don't get a cold." (said with real concern for your well being)

-Here's where the ping pong starts. Now you can react to their reaction-

"Don't even joke about getting a cold. When I hear the word 'cold' I get chills up my spine."

-Just keep reacting to the last line-

"Cold! Cold! Cold!"

-I hope you get the point. I'm gonna see where this goes though-

"Stop! Stop! You're scaring me. What if I did get a cold? Ohhhhh. That'd be the pits"

"Yeah it would. Then we'd have to send you away to an island so you wouldn't infect anyone else."

"Nu uhhhh"

"Yeah huh. I knew this kid who disappeared after he got a cold. The teachers told me he died of pneumonia, but I know they sent him to an island."

Was that the best scene in the world? No. They didn't even have names or a location. But it was basic enough and it dealt with the last line said and they all had reactions. If you were wondering the characters names were Joe and Chris. Two brothers who live in North Olmsted, Ohio. Joe is 10 and Chris is 8. Why was Chris going to the store you ask being only 8yrs old. We'll never know.

In closing, react as much as possible and listen as hard as you can. React to everything even if it's a small one. If you find your self in a stale scene, just react to anything.

Wednesday, January 13, 2010

The Best Notes/Advice Brett Has Ever Been Given...

I got a good note today from my coach, David. If you've seen me play, you may know a little about my strengths and weaknesses. When I know what is happening in a scene, I believe I am a very strong player. But, when I don't know what is going on, I freak out. I can't stand to not be in control during a scene. I have a hard time "letting go" of my fear of the unknown and just being okay with the uncertainty. I think it comes from a fear of looking stupid. It is one thing that holds me back from moving to the next level of improv. Anyway, I liked the note and it got me thinking about the best improv notes or advice I've ever been given. Here are some quotes (and, undoubtedly, misquotes) from some teachers and friends:

1. In life, take nothing personal. In improv, take EVERYTHING personal. -Barry Hite

2. Lose. Fail. In life, we fight so hard to win. In improv, it's fun to lose. -Bill Arnett

3. Improv is fueled by the logic of idiots. -Bill Arnett

4. The day I started being successful was the day I quit trying to be George Strait and started being myself. -Kenny Chesney

5. You boner... there are no right or wrong moves, just supported or unsupported moves. -Craig Uhlir

6. When you meet a man, shake his hand firmly and look him in the eye. -Terry Elam

7. Just listen and react emotionally. It's that easy. -Charna Halpern

8. Avoid the unhappy and unlucky. -Robert Green (The 48 Laws Of Power)

9. If you don't know what to do next in a scene, ask yourself "what's probably true". -Bill Arnett

10. It is never too late to care. In a scene, if you find you've chosen not to care about your scene partner, just choose an emotion and care! -Erica Elam

11. Your reputation in this business is gold. What you destroy in a year will take 10 years to rebuild. -Terry Elam

M. Night Shyamalan (by Brett)

M. Night Shyamalan, meet Del Close...

To start, I really liked M. Night Shyamalan's first three movies. I thought they were masterfully written and directed. And, while most people agree that The Sixth Sense was great, I have heard mixed reviews about Signs and Unbreakable. I personally loved them and I will explain why. But, in order for the following blog to make sense, I need you to grant me the following premise: M. Night Shyamalan's first three movies were great and his last three movies were awful. If that is a shark that you are willing to jump for the sake of improv, follow me...

Shyamalan's first three movies followed The Reckoning school of improv. The characters were very well acted and their relationships were slowly fleshed out. The plot didn't matter. Take Signs for example. A lot of people claimed that the aliens were dumb. But I say, who cares about the aliens??? That movie wasn't about aliens. It was about a man and his relationship with God, his brother and his children. And those characters and their relationships were real and were never broken for the sake of a joke. Sure, the relationships were set to the backdrop (plot) of an alien invasion, but that wasn't why I loved it. I loved the characters. When Joaquin Phoenix was funny, it was because he was being REAL. Another example is in Unbreakable when Bruce Willis' character is reconnecting with his wife one night in the bedroom. That movie, to me, was about a man and his relationship with his wife and son. Throughout the course of the movie, I grew to care about him and his relationships. Sure, there was a plot, but that didn't matter to me. The plot was extra. Like icing on a cake. The relationships were what made me love it. Much the same, great improvisers (like The Reckoning) just live in the moment. The plot doesn't matter and they don't break character for a joke.

Now, I'd like to examine Shyamalan's last three movies. The Village, Lady In The Water and The Happening had so little substantial relationship it was ridiculous. They were based solely on plot. Lady In The Water, for example, was so full of plot twists and turns and never once do I remember any connections between characters with a common history. And, there were absurd characters thrown into the film for no other reason than comic effect. The asian girl who talks crazy. The guy who only works out one side of his body. It even sounds like a wacky sitcom. And The Happening was no better. For starters, Shyamalan directed the worst performance of Mark Whalberg's career, but add to that the characters that were just an attempt at humor. For instance, that one guy who kept bringing up hotdogs. Or the army private who yelled "cheese and crackers" when he got scared. It felt so cheap and jokey. The relationships never reigned supreme in these films. Instead, what reigned supreme was plot, plot, plot and joke, joke, joke. The movies were constantly about WHAT WAS HAPPENING and rarely dealt with HOW THE CHARACTERS FELT ABOUT EACHOTHER.

The worst part about these three films was the butchering of the old improv adage, "show me, don't tell me". These three films were all wrapped up by a character literally explaining what the hell had been going on the whole time. In the Village, it was Shyamalan himself at the end of the movie explaining that a rich man had paid planes not to fly over the compound. In Lady In The Water, it was the girl literally explaining EVERYTHING to Paul Giamatti who (like the audience) had no clue what the hell was going on. And in The Happening, it was a news cast at the end that explained why the plants were going nuts. In contrast, The Sixth Sense didn't TELL us that (spoiler alert) Bruce Willis was dead the whole time. It SHOWED us through a series of flashbacks. In Signs, Mel Gibson didn't TELL us what happened. We were shown, either through real time action or a series of flashbacks. In improv, nobody wants to sit and hear you talk about what you did in the past. They want to SEE it.

Well, that's my M. Night Syamalan rant. If I could have one wish, I would wish for infinity wishes. Then, with my first of an infinite number of wishes, I would wish that M. Night Shyamalan would take improv classes. I'd love to see him implement some of improv's basic teachings and maybe make another good movie. Or, if he's just going to continue to try and do crazy twists, direct The Life of Pi, because that book was awesome.

Tuesday, January 12, 2010

Video Sketches on the Way!


by Eric

Hello my friends,

We have a couple of video sketches coming your way very soon. These are our first attempts at the old YouTube comedy and we are pretty proud of the results. The editing process is happening as we speak, so the videos should be up on an internet near you.

I will say that filming these was a blast and our friend Jordan Gzesh and Mike Gerberding who did the shooting and audio for us were great. The ideas that we had we captured very well in a short amount of time.

Stay YouTuned.

Friday, January 8, 2010

Two thing I'm interested in right now



Josh Logan

There are two things that intrigue me at this moment. One of them is telling whether or not someone is lying and the other is the art and style of arguing. If you haven't read Brett's Jan 6Th post, read it. He talks of an argument we had recently. This was a great moment for me because not only do I really enjoy discussing ideas and finding the truth but I've been researching how to become a better arguer and that was the first chance I got to use my newly acquired skills.

When I say the art of arguing, what I really mean is making a more concise, fallacy free, poignant discussion. My sweetbaby Eva politely informed me that I suck at arguing. She brought up some good points. I, being obsessed with self improvement, listened and took the criticism. I love criticism by the way. (Well sort of) She told me that I was blurring my speech with other points that didn't pertain to that particular argument and while being pertinent to another discussion wasn't pertinent to the current one. I also tend to make muddled metaphors that I think are great but confuse listeners. There's a great website for this type of stuff http://changingminds.org/ . It's got info on all sorts of stuff from selling to theories about behavior. That interests me. Another little move I got to use during the argument with Brett was summing up his point and repeating it to him to not only say "have I got this correct" but to boil it down to its pith and help me understand him better. It was great. I highly recommend checking out that website. It's worth a gander. It actually helps.

The other thing I mentioned was telling if someone is lying or not. That really has no basis other than I think it's a very valuable tool. Not only will it keep you from getting bamboozled, but it's a great way to train your eyes and other info gathering tools to really pay attention to body language and clues that get you inside people heads. Quick fact: The vast majority of the population scores very low on emotional intelligence tests. We're becoming more of a technology driven and owned society and paying less attention to our fellow man's emotional body. This is a neat way to train myself to listen more with my eyes and give someone my full attention. How great is it for improv too. That's usually my motivation behind my interests. That and action movies. (Or old Bill Murray and Tom Cruise films. Did anyone see Who am I? It was a Jackie Chan flick. Goofy.) Anyways, those are the two avenues of interest I have recently had.

I'd love to hear of any other cool interests that one might have recently had or currently pursue.

Wednesday, January 6, 2010

Only A Sith Deals In Absolutes

"Only a sith deals in absolutes."

Wise words from a wise Jedi (see Obi-Wan Kenobi in Star Wars Episode III). If we can forget, for a moment, that this statement is, in itself, an absolute statement, it seems like pretty sage advice. Nothing is ever really ALWAYS true. Most everything lives in shades of grey and even the most obvious truths tend to have their exceptions.

My least favorite improv teacher (who shall remain nameless) was always giving notes in very rigid terms. He would say to "always" do this and "never" do that. I hated it. He had an idea of what improv SHOULD be in his head and taught as if there was no other way. It was just plain stupid. No scene is ever the same and, therefore, should be treated individually. I've seen guys walk into a scene and tank and then, for no apparent reason whatsoever, someone else will try the same thing and the crowd will erupt in laughter. Improv is about what works for YOU and what choice works in the moment. Nothing in improv is ALWAYS true.

On the other hand...

"If you would be a man, speak what you think today in words as hard as cannon balls, and tomorrow speak what tomorrow thinks in hard words again, though it may contradict everything you said today."

More wise words from Mr. Ralph Waldo Emerson. There is something that I find very appealing about being a man of conviction. A man that speaks in words as hard as cannon balls. I think it's honorable to believe something and stand behind it. I hesitate to say it, but I admire the 9/11 terrorists. Not because of what they did. Obviously that was a horrible, abhorrent act. But I admire someone who believes in something so firmly that they are willing to die for it. Man, those guys were committed! I admire our soldiers. I admire our police force. I admire anyone who readily stands in danger's way to further a cause that they believe in. I don't admire terrorist's cause, but I do admire their conviction. Kass is going to hate that I said that, but it's true.

Anyway, these are two of my favorite quotes. And they also happen to be two ideas that conflict with me almost every day. I REALLY like to argue. And I argue hard and fast and I'm looking for blood with words as hard as cannon balls. To me, it's a sport. Afterwards, I am always "happy go lucky", but during an argument I tend to forget that there are rarely absolute truths and the argument is NEVER worth hurting the feelings of someone I love.

Last night, Josh and I got into a huge debate over improv theory. I spoke really strongly and so did he. I believed that it is never wrong to make quick, decisive moves in improv. He believed that sometimes it is wrong to "set a scenario" if you know that your scene partner has an idea in mind. He believed that it is often better to "sit back" and give your scene partner time to make clear their idea. And, while I'm proud that I argued what I believe, I now realize that the simple fact that I said something was "always right" made me exactly what I hate. Last night, I was a sith of improv. And also, I say this to Mr. Emerson: "If you would be a man, speak today what you think today in words as hard as cannon balls, but never at the expense of your friends." A real man, in my opinion, takes care of his loved ones first and foremost.

At the end of the night, Josh and I laughed about it all and had some McDonalds. Here's what we learned:

Some of the best improvisers we know (Brenden Jennings) play hard and fast, making decisions EVERY chance they get. Still, some of our favorite improvisers (TJ) often play less aggressively, waiting for their scene partner to explain their idea. Nothing is ever ALWAYS correct. And arguing is fun, but not when you're being mean. I like to argue my ideals and I'm proud to be someone who stands up for what I believe. But, I'd like to get better at considering my friend's feelings, even if it means that I have to give up an argument.

I'll leave you with one more of my favorite quotes, again courtesy of Ralph Waldo Emerson:

"To laugh often and much; To win the respect of intelligent people and the affection of children; To earn the appreciation of honest critics and endure the betrayal of false friends; To appreciate beauty, to find the best in others; To leave the world a bit better, whether by a healthy child, a garden patch, or a redeemed social condition; To know even one life has breathed easier because you have lived. This is to have succeeded."

-Brett