GO & A
and we were trying to look back a bit further and go to more of the vibe of ’70s flms, like the Hal Ashby movies, some of the Woody Allen stuff, or Elaine May’s The Heartbreak Kid; stuff where it felt a bit slower, or wasn’t like joke, joke, joke, and [which] felt more conversational, as far as the writing style, and tried to make it feel more natural. And the way the show is shot, we tried to make it feel more flmic – less cutting all the time, and less fast-paced. Even on Parks and Recreation, sometimes I’d watch it and be like, ‘Damn! This is so fast-paced; these jokes are just coming at you so fast.’ And it’s really funny, but I wanted to do something where it felt more like a natural conversation and had a bit of a different tone. I felt like that had kind of gone away a bit.
GQ: Are the single-camera editors as crucial to the comedy of the show as the script? AA:
If you look at the older stuff, there aren’t as many cuts. They do longer takes and there’s a bit more breathing room. Now they suck the air out of everything, which is good at times, but it may have become a bit aggressive. Now it’s so fast – it’s like, ‘I don’t know anyone who talks like this. What has happened?’
GQ: You cast your father to play Dev’s dad. What was it like having him on set? AA:
Like his character in the show, he’s a very silly guy so it was fun. He picked it up really fast, he took it seriously and was like, ‘Oh, I’ll work with an acting coach.’ He had this acting coach and she helped him. And then he was on set and I had to rewrite everything – we’d rehearse a scene and I’d say, ‘Let’s cut this and this. Let’s just do this.’ And he’s like, ‘Why did I memorise all that shit? You changed everything.’ It’s not a cameo though – he’s in three episodes. The second episode, he’s one of the main characters, there’s a lot of heavy lifting. I was really impressed. And my Mum, too, she did it [appeared in the show]. It was awesome.
GQ: Are you across the controversy of the Instagram ‘celebrity’ @thefatjewish, and the furore about him stealing other comedians’ material? AA:
It bummed me out that I spent any time reading about it. I read so much internet shit. I wish I’d spent the time writing a script or something. Yeah, that sucks about that guy, but it’s one of those things. There was a week where there was like 1000 articles about that, and I’m thinking, ‘Why am I reading this stuff? Who cares?’
GQ: It’s very easy to get suckedin to the internet’s outrage-ofthe-week, right? AA:
What’s more frustrating is that I’m wasting energy reading about whatever controversy is trending that day. Yesterday it was like, ‘Oh! That author said Idris Elba’s too ‘street’ to play Bond! That’s so racist!’ I’m like, ‘Yes, but if you look at his full quote it’s not that bad.’ People are just so ready to pull out their pitchforks. If you’re really that worried about racism, why don’t you go blog about America’s bail system? That’s really fucking racist. But that’s not as fun to say as, ‘That guy’s racist.’
GQ: When you’re not getting sucked in by such internet clickbait, how do you usually spend time online? AA:
I read whatever dumb shit everyone is talking about for no reason. I wish I could cut it out. I don’t know how to, I really have trouble with it. I’ll have to take an hour a day to work on some movie script, and instead I’ll just look at shit. And it’s all nonsense. Now the show is done, all I do is look at shit.
GQ: How are you going to stop, then? AA:
I’ve unfollowed everybody on Twitter and Instagram. I don’t miss any of it. I’m not sitting there thinking, ‘I wonder what that person posted