I grew up in Little Rock, Arkansas, and before the Internet and before everything, just to get anything interesting, you had to go on vacation to San Francisco or something. But I think when you're in the middle of America, you feel very jealous of not just comedy but music that you don't have access to.
Instead of improvisers who want to be funny by themselves, we aim to try and make the scene itself as funny as possible. As a creator, I think that's someone you'd rather work with, whether it's a movie or a sitcom; that kind of methodology is good for collaboration. People want to be with those kinds of performers.
Neil Mahoney was definitely the visionary in taking 'Freak Dance' from stage to screen. He made it more cinematic. He brought the choreography, all the ways to shoot that. I was more the director of actors. I was in front of the camera directing, and he was behind the camera directing.
So many comedians, if you asked them, 'What's your priority in standup?' it's probably gonna be to make people laugh or to entertain them. That is just way down on my priority list, if on my list at all. I'm into breaking records. If I can do a set and break a record and get no laughs, I'm happy.
I thought the musical aspect of 'Freak Dance' was a good contrast to how dancers always try to come off as really tough in those movies - they're trying to literally come off as gangs like as if the Crips and the Bloods are also dancing in addition or instead of fighting with guns and knives and stuff.
We agree that there is a problem in the sketch and improv community where, in general, there should be more interest from a more diverse sampling of our society. That is precisely why we do have diversity scholarships and why we've put together a diversity program to try to figure this problem out.