“I was obsessed with comedy writing as a kid,” said Nicholas Stoller. “I remember watching Saturday Night Live and not wanting to be the actors, but wanting to write the sketches. I don’t even know how I knew that was a job.”

As a screenwriter, Stoller has credits for Fun with Dick and Jane, Yes Man, Get Him to the Greek, The Muppets, Sex Tape, The Carmichael Show, Night School and Bros, many of which he also Directed, including Neighbors and Forgetting Sarah Marshall. 

“I’m excited Bros is going to be theatrically released, but a weird thing happened a few years ago where [studios] were like, ‘Comedies don’t work in theaters.’ Which is not true. Judd [Apatow] always says, ‘If The Hangover came out this weekend, it would make a billion dollars.’”

For whatever reason, studios just stopped making as many theatrical comedies. They’ve instead gone to television, limited series, and leaned in to action comedies for a broader, global appeal. “I love going to see comedy in the movie theater. You get to have that experience with an audience, laughing and reacting.”

“People say it’s a business first, but it’s not run like a business. If anyone thought about it like a business, there’s a huge hole in the comedy department.”

Subscribe for video interviews on YouTube: www.youtube.com/c/CreativePrinciples?sub_confirmation=1 

If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It only takes about 60-seconds and it really helps convince some of the hard-to-get guests to sit down and have a chat (simply scroll to the bottom on your iTunes Podcast app and click “Write Review"). Enjoy the show!

Ep367 - Nicholas Stoller, Screenwriter ‘Bros,’ ‘Sex Tape,’ & ‘Yes Man’

In ‘Day of the Dead: Bloodline,’ “A small group of military personnel and survivalists dwell in an underground bunker as they seek to find a cure in a world overrun by zombies.” In this interview, Director Hector Hernandez Vicens discusses the masters of suspense, his love for George Romero, what makes a film truly scary, and the importance of character.

Ep 27 - Hector Hernandez Vicens, Director ‘Day Of The Dead Bloodline’

While attending film school at UCLA, Paul Schrader saw the film, 'Pickpocket' (1959), which essentially formed the path of his career. During his stay at the university, Schrader thought there was a major difference between critics and filmmakers, but this film helped him understand the artistic view of each. 

“I looked down on them,” he said about his time as a critic. “I’m sure they looked down on me. But, I thought what they were doing was trivial. I thought what I was doing was superior to what they were doing. But, when I saw this film Pickpocket, it hit me for the first time that there could actually be a place for me.”

“I could make that film,” he thought to himself in the theater. “I saw that there was a bridge between my theological upbringing and my current love of the movies,” said Schrader. In the film, a man commits crimes and then goes and writes about those crimes in his diary. 

“Two years later, I wrote Taxi Driver, which is exactly that film...”

In addition to this audio format, the print interview for this conversation is available on Creative Screenwriting Magazine’s website.

Stay up-to-date on other creative advice and watch our weekly YouTube series at www.creativeprinciples.live

Ep100 - Paul Schrader, Screenwriter 'Taxi Driver,' 'Raging Bull,' & 'First Reformed'

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Welcome to Creative Principles, I'm your host Brock Swinson. Here I'll be speaking with writers, directors, actors, musicians and more. We'll discuss the habits, routines, and methods of a creative life.

Ep100 - Paul Schrader, Screenwriter 'Taxi Driver,' 'Raging Bull,' & 'First Reformed'

Creative Principles Podcast

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