It’s all over the place. JI: For me, the challenge always is whatever the location is, wherever the city is, how do we really put the comic in the best possible light? Most of the time the second performance is the better one, for two reasons: The comic has already done the first one, gotten the nerves out, and in their mind that one is in the can and they’re done. Todd Barry:. A good number of those variables are the responsibility of a producer who takes a comedian’s vision—“red curtain! JI: There’s a very simple formula for it, and that is that you basically want a comedian’s fans. We’re on the more expensive side, just because I try to keep them at a certain standard. Definitely listen to Medium Energy. John Irwin: Basically, it’s trying to realize and accentuate their vision of what they want their show to look like. If you have a set that’s so crazy or busy or you’re doing crazy stuff with lights or cameras, that’s going to detract from your ability to focus on the comedy. What people have realized is that with these types of shows, it’s really about shooting it in a way where you are connecting me at home to the comic on stage. AVC: How long is the editing process and post-production in total? Depending on the comic’s schedule, sometimes it can take two months, if they’re super busy and can’t totally focus, which can happen. The worst thing you can do is have the warm-up guy go out and then have the audience sit there for three or four minutes.

I think that’s part of the fun of all of it, trying to figure it out. You’re really putting on a live performance. Do they say, “I want it to look like a French New Wave movie,” or do they say, “I just want to wear this suit”? We’re always trying to figure out ways to shoot these things more cinematically, to bring more energy to them, to make them more interesting from a shooting standpoint, but we’re always walking that fine line to make sure we don’t do anything that is going to impede on being able to follow the comedy, because at the end of the day, that’s what it’s all about. AVC: Why would someone want to shoot in a big theater versus a smaller club? Me in a suit!”—and translates it to the small (or big) screen. JI: Hopefully! That’s undeniable. I want everybody to have a good experience. So there’s that process. It’s always a more exciting performance. 55.4k Followers, 157 Following, 1,368 Posts - See Instagram photos and videos from Todd Barry (@toddbarry) And out of it, especially if there are commercial breaks? The lighting?

I've watched it several times. If I’m at home, and the cameras are cutting, or the angles are so crazy, it’s distracting me from being able to follow the comedy, and then we’ve lost the war. Comedian Tom Segura rants about funny things about pop culture and the way of living in 2018. Who knows?

He’s appeared on The Late Show with Stephen Colbert, The Late Show with David Letterman, Conan and Late Night With Seth Meyers and his acting credits include The Wrestler, Road Trip, Flight of the Concords, Chappelle’s Show, Spin City, Sex and the City. We’ll shoot two shows in a night. By continuing to use our site you agree to our, Fall Forecast and Weekly Fall Color Report, Request a Website Listing & Partner Account. And, of course, you just make sure that people aren’t going be screaming, or aren’t going to be doing any other craziness. I love his Crowd Work special. The only thing that I’ve ever had happen is that in 2010 we were shooting Daniel Tosh in San Francisco, and for no reason whatsoever, the fire alarm went off in the building. But I’d say 90 percent of the time these guys already have everything, whether they’ve got a deal with Comedy Central, HBO, or Netflix. Or do you guys shop the special around?

AVC: What makes a good special audience and a bad special audience? I’ve done so many of these that I feel like they’re all really exciting. his most hilarious special... Spicy Honey for sure. And then literally, as soon as the warm-up guy finishes, within a minute, we’re announcing the headliner and they’re going out.

Do they want something that looks like it’s more on the classic, timeless side? A professional who got his start working on Late Night With Conan O’Brien and MadTV, Irwin got his first taste of special production working on a segment for David Cross’ Let America Laugh before working with Bob Saget, D.L. If you want to shoot in the Chicago Theatre, is it a bigger scale production?

Then we dig in trying to figure out what the set’s going to be, meaning the background. We’ll then pull anything from the other show that came off stronger in that version, and pull that into the second show, and then we’ll just edit from the second show. Have you tried to convince someone to do something really out there? News; Shows; Bio; Photos; Receipt Museum I hear horror stories. We’re always cutting two versions. He seems to be gripping the mike like a maniac - his knuckles are almost white, but his delivery is so relaxed, it’s weird .. More posts from the StandUpComedy community. They’ve had a couple drinks.

You may have heard his voice on the animated series Bob’s Burgers, Dr. Katz, Professional Therapist, and Aqua Teen Hunger Force. I just don’t want to shoot stuff that everyone’s not going to be really happy with. So to me, in stand-up specials, it’s always about the connection between the comic and the audience, and making sure that that connection is realized as fully as possible. Todd Barry has released three one-hour stand-up specials including his latest one for Netflix, Spicy Honey. Buy or rent it now on: The other big difference is the final product.

In September 2013, he went on a tour without the amazing jokes and did entire shows of riffing and bantering with the audience. There’s a couple different ways to do these things. A newer comic, if this is his first stand-up special, he’s going to have questions about a lot of stuff. It just deadens the energy. JI: That’s really been the standard. Ages 18+ FULLY SEATED SHOW Todd Barry has released three one-hour stand-up specials including his latest one for Netflix, Spicy Honey . He’s also produced specials for Patrice O’Neal, Daniel Tosh, Norm Macdonald, Hannibal Buress, Matt Braunger, Todd Barry, Demetri Martin, Chris Hardwick, Anthony Jeselnik, Steve Rannazzisi, Chris D’Elia, Kevin Hart, Patton Oswalt, Neal Brennan, Trevor Moore, Trevor Noah, and David Spade. Todd is also the author of the critically-acclaimed 2017 travel memoir Thank You For Coming To Hattiesburg. Happy Face is one of the more underrated, unique and hilarious stand-up specials Netflix doesn't seem to feature as often as it should, so it's likely that most people haven't discovered it yet, even though it's from 2017. AVC: What would be your dream special? JI: They’re such totally different experiences, and I think that most comics will run the spectrum. And generally the later audience just has more energy. A place for stand-up comedy videos, news, discussion and a treehouse for undiagnosed neurodevelopmental disorders.

You’re not just pulling random people off the street.

JI: Everybody always comes in in a different way. AVC: You said that you make sure that the material is where it needs to be for the special. Does Chris Hardwick ask you what suit he should wear on stage?

In other words, you can have a comic who has played giant arenas for years, and then decides that, for their stand-up special, they want to do something that’s small and intimate, versus the opposite. How do they represent themselves? That’s where stuff starts to go wrong. And, look, their material is always pretty much there. JI: Yeah, they’re extremely involved. yep...this is definitely correct. The challenge on every one of them is to make them go off without a hitch and look amazing. When I did John Mulaney, who’s from Chicago, his special was at Chicago Theatre.

Watching it now. Some of them we actually have on dollies, so they’re slightly moving. The comics feed off of the energy of the audience. JI: I don’t know if I have an answer for that question, strangely enough. It’s really just a personal preference for the comedian as to what they want. The A.V. Todd's the man. They’re authoring it to a certain extent.

I mean, that’s a massive event. AVC: What are the challenges working on something for, say, Comedy Central, where you have to be conscious of how commercials will work into the show? That way we keep the energy up. So there’s a pretty wide spectrum.

Some people come in and say, “I have no idea what I want. It was a malfunction. We always shoot with film cameras now. AVC: No, it’s true. Club talks to industry insiders about the actual business of entertainment in hopes of shedding some light on how the pop-culture sausage gets made. Since it’s their material, they have final say of what stuff stays in. Other times, like with Chris Hardwick—he was extremely specific about what he wanted. 152k members in the StandUpComedy community. That’s an absolutely critical piece of the equation—just making sure that the people that are there are there because they love that comic. Certainly, Chris Hardwick, who’s more of a veteran of television and stand-up, he’s more decisive about what he wants. AVC: Do you just pick one show, or do you cut the two shows together? Press J to jump to the feed. But that’s not to say that in a couple of years from now John Mulaney might want to do his next special in a room of three hundred people. There is a fair amount that I don’t do, because there’s not enough money. AVC: What’s the worst thing that’s happened while you’ve been filming a special? It’s that simple. I know that I want it to be moody.” A lot of times, I kind of have to draw a feeling out of them, and then I have a set designer start working on it, so sometimes we work from very little. What’s also true, though, is that there’s more to it than that. He has just been slowly working up to bigger and bigger venues. Club talked to him about how that—and all the specials he’s worked on—came together, as well as how he helps put the funny on screen. It’s all about the comedian up on stage being funny and you at home being able to totally focus on the comedy. I'm not crazy about the crowd work. Ironically, the challenges are incremental, believe it or not. A place for stand-up comedy videos, news, discussion and a treehouse for undiagnosed neurodevelopmental … It’s a very symbiotic experience for those guys. Where people make mistakes sometimes is that every once in a while you’ll overshoot it, you’ll get too artsy with it, and it becomes more about the director and the camera work than it does about the stand-up. One of my first jobs was Saturday Night Live. In other words, this dude knows his stuff. JI: First we load in the audience. Do you have a crane at the Chicago Theatre that you don’t have at Largo? One show’s always going to be better than the other. The setting? A lot of times, when you do them cheaper, it actually effects the comedian’s experience day of. The flip side of that is John Mulaney. AVC: Is that something you learned from experience? Northeast comedian touring nationally offering biography, schedule, receipt museum, booking and contact information. That said, the other one works, too. It’s the same thing to a certain extent with the graphic open. I think the fun thing about them is every one of them ends up being special in their own way. When we do them for Comedy Central, we’re also doing what’s called the extended version, or the uninterrupted version with no commercial breaks, and then we do the commercial break one. I used to do Def Comedy Jam, and I was working on stuff like Def Poetry and Paul Simon’s Concert In The Park. And it’s shooting it. What don’t you want from people? Do you want to shoot one in space?