And so there was a certain boisterousness that I was attracted to when I joined The State at NYU. I think that is certainly characteristic of everyone in The State, which is my comedy family. But with your stuff, it all just seems optimistic and happy and playful.ĭW: Yeah, there seems to be. You just so often see this dark underbelly to most comedians or comedic actors that subtly comes out in their performances, or even while they’re off camera. That’s the way we’ve written the majority of our work together.īLVR: Looking through your work, I definitely feel as though there’s something about your personality or how you approach comedy that feels different than most of the people in your field or craft. Mostly we’re on Skype, screen-sharing, so we’re both looking at the same screen, and we’re listening to each other’s voice. We very rarely write by ourselves.ĭW: I type-only because Ken is not a very fast typer. Because we live on separate coasts, we had to maximize our interpersonal time together.īLVR: And then how does it follow from there? Do you trade off scenes? One person does a pass and the other cleans that up, or…?ĭW: Every writing partnership is different, but ours is very much us both just sitting there together at the screen and doing it.
#The 1975 somebody else mtv movie
We had nothing, and we sat there and said, Look, what do you want to make a movie about? And we came up with this idea, and we wrote a very, very, very rough first draft in that week. But in the case of the two movies that we’ve sort of made that are our own movies, which were The Ten and this one, Wanderlust, we very deliberately decided to put ourselves in a room for a week, come up with something, and write it. We also wrote a lot of other screenplays for hire in between those projects. THE BELIEVER: Can you talk about the process of screenwriting with a partner? Who starts it off? Whose idea do you begin with? How do you trade it back and forth?ĭAVID WAIN: Well, in this case, Ken and I did our movie The Ten together, and he also wrote Role Models with me. Wain lives in New York with his wife and occasional costar, Zandy Hartig. I spoke to Wain a few days before Christmas about the challenges of switching artistic formats, comedy spawned from happiness rather than pain, and whether or not comedic directors lose their fastball with age. At the time of this interview, Wain was editing the film Wanderlust, written with Ken Marino and produced by Judd Apatow along with Wain, Marino and Paul Rudd.
Wain continued to work with members of The State on films such as The Ten, Role Models, and the classic camp parody Wet Hot American Summer, all of which were cowritten and include appearances by various State members. Wain also serves as writer, director, and producer of Adult Swim’s Childrens Hospital, a sort of darkly comedic version of Grey’s Anatomy in which sociopathic doctors feign morals and good intentions to ruin the healthy lives of their kid patients.
#The 1975 somebody else mtv series
Recently, Wain has written, directed, and starred in thirty-two episodes of Wainy Days, a web series in which he plays a bumbling, hopeless romantic who falls in and tragically out of love with one fetching actress after another, all within the span of a five-minute episode. Wain consistently distinguishes himself from his comedic contemporaries by eschewing the standard cynicism and examining the absurdity of social rituals, small talk, and the general silliness of history. In the twenty-two years since The State ’s inception, Wain has oscillated between mediums-performing stand-up with the comedy trio Stella, writing screenplays, directing features, and acting, almost always in the role of the “aw, shucks” ham. At the height of MTV’s grip on ’90s youth culture, David Wain and his friends from New York University created The State, an MTV sketch-comedy show that, despite its short run, developed a vehement following and ignited the comedy careers of Wain and the group’s ten other members, including Michael Showalter, Michael Ian Black, and Thomas Lennon.
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