FREAKS AND GEEKS Creator Speaks About —

…Um, the usual things that writers speak about, actually. Which other writers always want to hear/read. So settle in for a match made in interweb heaven:

8 Things We Learned About ‘Freaks and Geeks’ Creator Turned Film Director Paul Feig’s Career in Comedy
by Julia Selinger

paulfeigPaul Feig seems to have occupied every corner of the television and filmmaking process, from performing stand-up in Detroit clubs at age 15 to taking a role on “Sabrina the Teenage Witch” (“Acting is hard, but not when you’re playing Eugene Pool”) to helming episodes of some of the best shows on the small screen. Perhaps best known as the creator of the seminal TV series “Freaks and Geeks,” Feig has an impressive list of directing, acting, producing and writing credits. He’s directed episodes of “The Office,” “Arrested Development,” “Mad Men,” “Nurse Jackie” and “Weeds,” as well as 2011 hit “Bridesmaids” and the new buddy cop comedy “The Heat,” starring Melissa McCarthy and Sandra Bullock. On Tuesday night, Feig sat down with David Schwartz, chief curator at the Museum of the Moving Image, at the closing 92YTribeca to talk about working in film and television, women in comedy, and his obsession with Steve Martin. Here are some of the highlights:

He appreciates the relationship between writing and directing. “As a director, it’s important to have a knowledge of writing,” Feig noted.

freaks-and-geeks-your-nex-007When asked which he preferred, writing or directing, he answered, “I wouldn’t want to just be writing, because I like to control what I’m writing. If I had to pick one, I would just direct.” Having worked extensively in both film and television, Feig discussed one of the differences between the two mediums: “In TV, you are a facilitator; it’s a writer’s medium. When you’re doing a movie, you are the storyteller. It is your job to fix that script, [so] the expectation is for the director to jettison above the writer.” Feig disagreed with this assumption, adding, “I think it’s important [as a director] to have a relationship with the writer,” explaining that the partnership is crucial in fostering moments of interconnectivity on screen.

That said, the script is malleable. Speaking of being in control of a project, Feig had some words of wisdom on the subject: “Control freaks are the death of comedy, and I was one.” He spoke about his early days on “Freaks and Geeks,” treating the newly approved script for the pilot as an untouchable document. Executive producer Judd Apatow felt differently, immediately announcing, “Let’s tear the script apart,” words to which Feig didn’t react well. “I feel like my own army is shooting at my back,” he thought at the time. Feig expressed that he has since come to terms with the script being fluid and capable of some messing around with. “Don’t be religious about the words at all; make it your own.” Said a reformed Feig, “To me the alchemy is controlled chaos.”

freaks-and-geeks-your-nex-007aFind the funny people and let them roll with it. Part of this controlled chaos has been achieved by Feig’s consistently talented line-up of hilarious actors and actresses. Feig depicted himself as a director who is first and foremost invested in the actors and their performances. “Directing is about getting out of their way,” he said. “My real role as a director is about creating a safe, pressure-free environment.” Feig also spoke about the crucial process of casting, giving a deserved nod to casting director and long-time colleague Allison Jones. “If someone’s good, rewrite the part for them,” he urged. “Don’t lose them.” Feig attributes talented performances to having a keen eye for improv. “True funny people know where the line is…then you can set them loose.” And set them loose he does. In his films, he often lets his leading ladies improvise for a while and lets the cameras roll. “It’s all about catching lightning in a bottle. That’s why I always cross-shoot.” The improvisational performances are also more naturalistic, an effect Feig strives to achieve in both film and television. It’s about getting off the roadmap to capture real, authentic performances, he explained, resulting in acting that is joyous and buoyant.

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