GO & A

GQ (Australia) - - THE SOURCE -

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

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.