Rob Huebel 5/23/06 Part 1
Rob Huebel is an actor and comedian living in Los Angeles, where he performs with ‘MySpace’ and in ASSSSCAT at UCBT. In New York, he was a member of Respecto Montalban, a house team at the UCBT, known for their fast, aggressive style of play and for developing their own version of the Evente.
JF: Where were you born?
RH: I was born in Virginia. I was born in Alexandria, Virginia.
JF: Is that a small town?
RH: Nope. It’s just outside of D.C., so it’s a pretty big town.
JF: What were some early influences on your sense of humor?
RH: I think I was just like everybody. I watched a lot of Saturday Night Live when I was little. My mom was hooked on SNL, so we watched that every weekend. I’m a huge fan of all those old guys. I liked Bill Murray, Chevy Chase, John Belusi, and of course Steve Martin. A friend of mine had his comedy albums and we used to sit around and listen to them, that was awesome.
JF: When did you know that you wanted to be a performer?
RH: Wow. I’m still waiting for that day. I’m thinking about going into the footwear business. I want to make my own cool shoes. No, that’s a really good question. I didn’t really do a lot of plays in High School. I don’t really know that much about drama, per se. I think like with a lot of people in comedy you kind of grow up being the funny person in your class of like twenty people, which isn’t too hard. You get a little taste of that in your classroom, making people laugh, being the funny guy in your class in High School, I guess.
As far as performing performing, I didn’t really do too much before I got to New York. I started taking classes at UCB. Somewhere early, early on in there, the deal I made to myself was that if I wasn’t the worst person in the class, then I would just keep going to classes. So, that’s kind of what I did. I went to the UCB class and I just wasn’t the crappiest person, so I just kept going and kept going. I would say after I got a little taste of that I probably made up my mind that this would be a great way to make a living, if I could do it. But it takes a while, because you can’t figure out how to do it. It seems impossible. It is impossible. It’s impossible to do that for a living. But I would say after doing some early UCB shows I thought ‘yeah, this would be awesome if I got better at it.’ So, that’s my answer.
JF: What were you interested in before you got into improv or comedy?
RH: As far as performing?
JF: No, as far as your life. What were your interests creatively or career-wise?
RH: I’ve always been interested in film and TV. When I was little, my mom used to take my brothers out here to L.A. She has a friend out here who we would stay with, and we would go see the tapings of all the shows and stuff. Just stupid shows. We would go see just game shows, or we’d go see ‘Tic Tac Dough,’ or something like that, or talk shows [laughs]. So, I always thought TV production was really cool. I’ve always been interested in production and film.
JF: Did you study that in college?
RH: No, I was a Marketing major.
JF: Really?
EH: Yeah. In my school, they didn’t really have what I wanted to study. What I really wanted to study was advertising. I finally figured out that the reason I was attracted to advertising was because I wanted to be in commercials. The reason I wanted to be in commercials was because I wanted to be funny, on TV. If I really boiled it down, I just never really had the balls to say ‘hey, I’m going to go and be a performer.’ That just seemed too far-fetched.
I kind of thought early on ‘I’ll study advertising and make commercials.’ So, I studied marketing and never really got into advertising, but then eventually got into doing commercials, kind of through a circuitous route. All that was really just because I wanted to be funny and make people laugh and just do funny commercials and stuff.
JF: What was that circuitous route that got you into commercials? Did you go on an audition or did it come some other way?
RH: No, it just took me a while. I did a lot of things, before I finally had the guts to say ‘I want to be on camera.’ For a long time I worked in production. I worked on a lot of shows. I started off as a P.A., then Associate Producer, then I was producing some segments for TV, traveling around a lot. Eventually, I just realized what I was trying to do was be on camera and try to be funny.
That was around the time I had been taking some UCB classes, and trying to get a commercial agent. It’s really hard in New York. It’s hard anywhere. It’s hard to get noticed, because there are so many people. Eventually, I took a class with Mary Egan, which was just like an auditioning class. Do you know what I’m talking about?
JF: Chris told me about it. I’m not really too into auditioning or whatever.
RH: Ok, there’s a casting person in New York who casts a lot of commercials, and they also teach a class. It’s a fun class. The great thing is that at the end of the class on your last day, they have agents come. They have like two agents come to watch you do like fake commercial auditions, so that’s how I got an agent. But it took forever. By that time I had been doing shows at UCB forever. It’s just really hard to get an agent.
JF: You’ve been pretty successful in commercials. What was your experience like? Do you have any tips for people getting into commercials?
RH: I don’t know that I’ve done that well. I’ve been kind of lucky with it. I always had a blast in it. Some people hated it. Like, Riggle hated it. He did not want to do it. It can be a little bit miserable, but I always liked it. To me, it was like doing a sketch for people that they wrote. I’m talking about the funny ones. The serious ones I don’t care about.
I kind of fucked myself a few times by doing some really sincere ones. One of the first ones I ever did was for Aetna Insurance. I just had one line. My wife and I were in our son’s first grade classroom and the teacher is having a parent teacher conference with us. The teacher tells us that our son can’t see the chalk board, so we should probably get him some glasses or at least get his eyes checked. It’s me looking all concerned. ‘Oh gosh, I hope my son’s ok. I don’t know what to do about my son’s eyes.’ At the end, my wife and I exchange these kind of parental sincere glances. We’re all concerned, then at the end I just go ‘well, let’s get him checked.’ That was my one line. [laughs] So, that ran for a while and everybody made fun of me.
Generally, I just had a fun time auditioning. You get to see a bunch of people who you know at the auditions and the casting people get to know you. You go in and you just do a sketch for them. My thing and I think a lot of UCB people have learned that if you can improvise and show them that not only are you funny, but you can make their dumb script funnier, then you’re pretty valuable. That’s what I tried to do. I tried to go in and maybe throw in a lot of my own. Show them that ‘oh, that’s a good idea. Maybe we should get that guy.’ That seemed to work pretty well. You can definitely go overboard with it though. Sometimes I would do that and you’d get this jackass advertising guy and he’d be pissed off because it’s not what he wrote. Most of the time it was good. They wanted you to make it funnier if you could.
As far as tips, the only thing that really helped me was for a long time I would get really nervous. I think that that hinders your performance, because you’re really trying, really hard, and you really want it, and it comes across, that you need this money. [laughs] Eventually, I quit caring about it. I would just go in there and could not care less if I got it. I think what that did was make these guys think ‘oh, look how confident he is.’ I wasn’t confident. I was trying my hardest not to care. So by not caring about, I think I tricked them into thinking I was confident, then I started getting them.
At the end of the day, I think with commercials and really a lot of stuff, I think definitely with sitcoms too, it comes down to something that has nothing to do with your performance. It comes down to something like your look. I can’t help that. I can’t control that. I can’t control what the other people look like who have already been cast look like. It’s like ‘the girl is short, so you need to be shorter.’ Or ‘the girl is young, so you need to be younger.’ It’s like I can’t control any of that, so go in, have fun, and not care about it too much. That would be my advice. And hopefully it comes off as confidence.
JF: What brought you to New York?
RH: I was living in Atlanta. I lived in Atlanta for about 3 years. I was working for a newspaper down there. It’s kind of like the Village Voice down there, but in Atlanta it’s called Creative Loafing. That was my first job out of college with my Marketing degree. Again, the only reason I was doing that was because I could meet with restaurants and bars and come up with funny ads for them.
So, I was writing these funny ads and trying to do something creative, but it was still like a crappy sales job. Eventually, I got sick of that, and a friend of mine who was the restaurant person at the newspaper said ‘I’m going up to New York for the weekend. You should come up there with me. We’ll go to a bunch of restaurants and blah, blah, blah.’ So, I came up to New York on this trip with this friend of mine and just had the most amazing weekend. She was a restaurant critic, so we just went to 8 million restaurants and ate the best food and drank the best wine. Then at the end of the weekend, she was like ‘you know what you should do? Move to New York for a year and just try it out.’ I was kind of sick of my life in Atlanta, and I thought I’m going to do that. I’m going to move to New York for a year and just try it out. So, I quit my job.
JF: Wow.
RH: Within the course of two weeks, I quit my job. I pretty much broke up with my girlfriend, then moved to New York. I was just going to try it out for a year. I had no job or anything. I was just temping, making maybe 400 dollars a week, probably less. The only thing I had was a place to live. I had a hook-up with a friend of a friend and they had this huge apartment on the Upper West Side, so I was able to live in this really cool apartment in New York, so it was a really good hook up. So, basically, yeah, I just moved to New York on a lark, just because I wanted to change my life. I had no idea what I was going to do. I knew that I wanted to do something in TV. I hadn’t done any TV production and I wanted to try to get into that, so I did that eventually. That eventually lead to doing commercials.
JF: When did you get involved with improv?
RH: Late, late, late. If there’s one thing I could change about my life, I wish I had started performing when I was like 20. There are so many people who I see who are so good and they started when they were in college or right after they were out of college. It just took me a while to get up the nerve to do it. I didn’t start performing until I was like 27. I was a late bloomer. I just started taking some classes at UCB.
I was really lucky looking back. The guys that I kind of came up with like me, Paul Scheer and Owen [Burke] and Rob Riggle, we were kind of the first wave of guys. Along with all the guys in the Swarm, like [Andy] Secunda, Andy Daly, Sean Conroy, people like that. We were all kind of the early guys in the door, and back then there was nothing. They used to have this theater on 17th St. at a place called Solo Arts. They would do shows up there and I would take classes over there. But we were just the first group of guys in the door. It was really just lucky timing. If I had to do it now, if I were in the position of starting it now, being that age with it already built up and established, I would just be really intimidated I think. I would just be really scared to do it, because I didn’t have a lot of confidence in myself as a performer or in my ability to be funny. I just didn’t really think that I could be funny, you know?
The cool thing that about it was that it was really kind of disarming, because they didn’t really teach ‘ok, be funny. Be funny now.’ It was never like that. It was always kind of just like baby steps. It was always just listening and adding. That’s what appealed to me. I knew that I could knock it out in steps. I felt like if I just follow these rules, this scene should be funny by itself. I don’t have to worry about it, if I just listen and add information to it, and keep being as they say truthful to it. Eventually, it will be funny by itself and I don’t have to worry about it.
Looking back, it was really lucky timing for me personally. It was the beginning of this huge thing that was about to come into New York. I’ve heard of people talk about it in terms of Punk rock. It was just being in the right place at the right time. We were kind of the early group. We just kind of stuck with it and stuck with it. A lot of people fell away. They weren’t interested or weren’t able to do it or whatever, but we just kind of clicked with each other and supported each other, then eventually just by sticking around and sticking around and keep going and keep going and keep going, you get good at it. But we sucked for a long time. And I still suck. I suck periodically. I don’t think I’m the funniest person in the world, but you just keep working at it. You just want to keep on learning.
JF: What were the early classes like at the UCB?
RH: Well, in the beginning it was taught by the 4 of those guys, Ian [Roberts], [Matt] Besser, [Matt] Walsh and Amy [Poehler]. I was a huge fan of Ian’s classes. For some reason I just liked the logic. He’s just such a machine. It just really appealed to me. It took away any of the guess work of it. He almost made it mathematical. I was a big fan of his. He was my level 1 teacher. I think I took Amy for level 2 and she’s great too. They’re all great. They’re just great for different reasons. They just have totally different styles. I eventually took classes with all of them, but for me Ian was just such a pleasure to watch. He could take the most absurd thing and play it so straight. You hardly ever see him laugh. I used to be really good at that, not laughing. For years I used to be really good at that, but I would say in the past year I’ve become too casual and I’ve started laughing sometimes on stage. I’m trying to get better at that.
But the early classes were all taught by those guys. They were small. They would have 17 or 18 people in them. It was very similar to what’s being taught now. It was still the Harold. When I was teaching, I tried to teach off a syllabus that Ian had. Ian handed out this syllabus a long time ago, that was kind of just a guide, and I tried to teach off that. Everyone has different styles and different approaches but I think the fundamentals are the same. I don’t really think that changes too much. I just think you just have to do the basics at first. I only taught level 1. I really enjoyed teaching new people, except you.
JF: This is over!
RH: Yeah, the early classes were fun. I remember I used to get so nervous in class. It was such a weird thing, and I wasn’t used to performing. You’re getting up with one other person and doing a scene in front of 18 or 20 strangers. It just makes you nervous. It was just one of those things that I had to force myself to do. It was terrifying, but it was very supportive. I always felt like it was a very supportive atmosphere.
JF: Did the concept of the ‘game’ click quickly with you?
RH: I could grasp it intellectually. I knew what it was, but I didn’t always have it in my scenes. It’s something you really have to focus on. You have to think: ‘what has been said, and of that what is the unusual thing? And how do we have fun with that unusual idea?’ I guess that I got it right away in my brain, but that doesn’t mean it was always in my scenes. It takes a little while. Even now, I perform with people who I’ve performed with for years and years and years and we still buzz past things some times, because I think there’s a tendency now to maybe not play the first or second thing. We’re waiting for something bigger and more complicated and some times that fucks it up.
JF: Where were you born?
RH: I was born in Virginia. I was born in Alexandria, Virginia.
JF: Is that a small town?
RH: Nope. It’s just outside of D.C., so it’s a pretty big town.
JF: What were some early influences on your sense of humor?
RH: I think I was just like everybody. I watched a lot of Saturday Night Live when I was little. My mom was hooked on SNL, so we watched that every weekend. I’m a huge fan of all those old guys. I liked Bill Murray, Chevy Chase, John Belusi, and of course Steve Martin. A friend of mine had his comedy albums and we used to sit around and listen to them, that was awesome.
JF: When did you know that you wanted to be a performer?
RH: Wow. I’m still waiting for that day. I’m thinking about going into the footwear business. I want to make my own cool shoes. No, that’s a really good question. I didn’t really do a lot of plays in High School. I don’t really know that much about drama, per se. I think like with a lot of people in comedy you kind of grow up being the funny person in your class of like twenty people, which isn’t too hard. You get a little taste of that in your classroom, making people laugh, being the funny guy in your class in High School, I guess.
As far as performing performing, I didn’t really do too much before I got to New York. I started taking classes at UCB. Somewhere early, early on in there, the deal I made to myself was that if I wasn’t the worst person in the class, then I would just keep going to classes. So, that’s kind of what I did. I went to the UCB class and I just wasn’t the crappiest person, so I just kept going and kept going. I would say after I got a little taste of that I probably made up my mind that this would be a great way to make a living, if I could do it. But it takes a while, because you can’t figure out how to do it. It seems impossible. It is impossible. It’s impossible to do that for a living. But I would say after doing some early UCB shows I thought ‘yeah, this would be awesome if I got better at it.’ So, that’s my answer.
JF: What were you interested in before you got into improv or comedy?
RH: As far as performing?
JF: No, as far as your life. What were your interests creatively or career-wise?
RH: I’ve always been interested in film and TV. When I was little, my mom used to take my brothers out here to L.A. She has a friend out here who we would stay with, and we would go see the tapings of all the shows and stuff. Just stupid shows. We would go see just game shows, or we’d go see ‘Tic Tac Dough,’ or something like that, or talk shows [laughs]. So, I always thought TV production was really cool. I’ve always been interested in production and film.
JF: Did you study that in college?
RH: No, I was a Marketing major.
JF: Really?
EH: Yeah. In my school, they didn’t really have what I wanted to study. What I really wanted to study was advertising. I finally figured out that the reason I was attracted to advertising was because I wanted to be in commercials. The reason I wanted to be in commercials was because I wanted to be funny, on TV. If I really boiled it down, I just never really had the balls to say ‘hey, I’m going to go and be a performer.’ That just seemed too far-fetched.
I kind of thought early on ‘I’ll study advertising and make commercials.’ So, I studied marketing and never really got into advertising, but then eventually got into doing commercials, kind of through a circuitous route. All that was really just because I wanted to be funny and make people laugh and just do funny commercials and stuff.
JF: What was that circuitous route that got you into commercials? Did you go on an audition or did it come some other way?
RH: No, it just took me a while. I did a lot of things, before I finally had the guts to say ‘I want to be on camera.’ For a long time I worked in production. I worked on a lot of shows. I started off as a P.A., then Associate Producer, then I was producing some segments for TV, traveling around a lot. Eventually, I just realized what I was trying to do was be on camera and try to be funny.
That was around the time I had been taking some UCB classes, and trying to get a commercial agent. It’s really hard in New York. It’s hard anywhere. It’s hard to get noticed, because there are so many people. Eventually, I took a class with Mary Egan, which was just like an auditioning class. Do you know what I’m talking about?
JF: Chris told me about it. I’m not really too into auditioning or whatever.
RH: Ok, there’s a casting person in New York who casts a lot of commercials, and they also teach a class. It’s a fun class. The great thing is that at the end of the class on your last day, they have agents come. They have like two agents come to watch you do like fake commercial auditions, so that’s how I got an agent. But it took forever. By that time I had been doing shows at UCB forever. It’s just really hard to get an agent.
JF: You’ve been pretty successful in commercials. What was your experience like? Do you have any tips for people getting into commercials?
RH: I don’t know that I’ve done that well. I’ve been kind of lucky with it. I always had a blast in it. Some people hated it. Like, Riggle hated it. He did not want to do it. It can be a little bit miserable, but I always liked it. To me, it was like doing a sketch for people that they wrote. I’m talking about the funny ones. The serious ones I don’t care about.
I kind of fucked myself a few times by doing some really sincere ones. One of the first ones I ever did was for Aetna Insurance. I just had one line. My wife and I were in our son’s first grade classroom and the teacher is having a parent teacher conference with us. The teacher tells us that our son can’t see the chalk board, so we should probably get him some glasses or at least get his eyes checked. It’s me looking all concerned. ‘Oh gosh, I hope my son’s ok. I don’t know what to do about my son’s eyes.’ At the end, my wife and I exchange these kind of parental sincere glances. We’re all concerned, then at the end I just go ‘well, let’s get him checked.’ That was my one line. [laughs] So, that ran for a while and everybody made fun of me.
Generally, I just had a fun time auditioning. You get to see a bunch of people who you know at the auditions and the casting people get to know you. You go in and you just do a sketch for them. My thing and I think a lot of UCB people have learned that if you can improvise and show them that not only are you funny, but you can make their dumb script funnier, then you’re pretty valuable. That’s what I tried to do. I tried to go in and maybe throw in a lot of my own. Show them that ‘oh, that’s a good idea. Maybe we should get that guy.’ That seemed to work pretty well. You can definitely go overboard with it though. Sometimes I would do that and you’d get this jackass advertising guy and he’d be pissed off because it’s not what he wrote. Most of the time it was good. They wanted you to make it funnier if you could.
As far as tips, the only thing that really helped me was for a long time I would get really nervous. I think that that hinders your performance, because you’re really trying, really hard, and you really want it, and it comes across, that you need this money. [laughs] Eventually, I quit caring about it. I would just go in there and could not care less if I got it. I think what that did was make these guys think ‘oh, look how confident he is.’ I wasn’t confident. I was trying my hardest not to care. So by not caring about, I think I tricked them into thinking I was confident, then I started getting them.
At the end of the day, I think with commercials and really a lot of stuff, I think definitely with sitcoms too, it comes down to something that has nothing to do with your performance. It comes down to something like your look. I can’t help that. I can’t control that. I can’t control what the other people look like who have already been cast look like. It’s like ‘the girl is short, so you need to be shorter.’ Or ‘the girl is young, so you need to be younger.’ It’s like I can’t control any of that, so go in, have fun, and not care about it too much. That would be my advice. And hopefully it comes off as confidence.
JF: What brought you to New York?
RH: I was living in Atlanta. I lived in Atlanta for about 3 years. I was working for a newspaper down there. It’s kind of like the Village Voice down there, but in Atlanta it’s called Creative Loafing. That was my first job out of college with my Marketing degree. Again, the only reason I was doing that was because I could meet with restaurants and bars and come up with funny ads for them.
So, I was writing these funny ads and trying to do something creative, but it was still like a crappy sales job. Eventually, I got sick of that, and a friend of mine who was the restaurant person at the newspaper said ‘I’m going up to New York for the weekend. You should come up there with me. We’ll go to a bunch of restaurants and blah, blah, blah.’ So, I came up to New York on this trip with this friend of mine and just had the most amazing weekend. She was a restaurant critic, so we just went to 8 million restaurants and ate the best food and drank the best wine. Then at the end of the weekend, she was like ‘you know what you should do? Move to New York for a year and just try it out.’ I was kind of sick of my life in Atlanta, and I thought I’m going to do that. I’m going to move to New York for a year and just try it out. So, I quit my job.
JF: Wow.
RH: Within the course of two weeks, I quit my job. I pretty much broke up with my girlfriend, then moved to New York. I was just going to try it out for a year. I had no job or anything. I was just temping, making maybe 400 dollars a week, probably less. The only thing I had was a place to live. I had a hook-up with a friend of a friend and they had this huge apartment on the Upper West Side, so I was able to live in this really cool apartment in New York, so it was a really good hook up. So, basically, yeah, I just moved to New York on a lark, just because I wanted to change my life. I had no idea what I was going to do. I knew that I wanted to do something in TV. I hadn’t done any TV production and I wanted to try to get into that, so I did that eventually. That eventually lead to doing commercials.
JF: When did you get involved with improv?
RH: Late, late, late. If there’s one thing I could change about my life, I wish I had started performing when I was like 20. There are so many people who I see who are so good and they started when they were in college or right after they were out of college. It just took me a while to get up the nerve to do it. I didn’t start performing until I was like 27. I was a late bloomer. I just started taking some classes at UCB.
I was really lucky looking back. The guys that I kind of came up with like me, Paul Scheer and Owen [Burke] and Rob Riggle, we were kind of the first wave of guys. Along with all the guys in the Swarm, like [Andy] Secunda, Andy Daly, Sean Conroy, people like that. We were all kind of the early guys in the door, and back then there was nothing. They used to have this theater on 17th St. at a place called Solo Arts. They would do shows up there and I would take classes over there. But we were just the first group of guys in the door. It was really just lucky timing. If I had to do it now, if I were in the position of starting it now, being that age with it already built up and established, I would just be really intimidated I think. I would just be really scared to do it, because I didn’t have a lot of confidence in myself as a performer or in my ability to be funny. I just didn’t really think that I could be funny, you know?
The cool thing that about it was that it was really kind of disarming, because they didn’t really teach ‘ok, be funny. Be funny now.’ It was never like that. It was always kind of just like baby steps. It was always just listening and adding. That’s what appealed to me. I knew that I could knock it out in steps. I felt like if I just follow these rules, this scene should be funny by itself. I don’t have to worry about it, if I just listen and add information to it, and keep being as they say truthful to it. Eventually, it will be funny by itself and I don’t have to worry about it.
Looking back, it was really lucky timing for me personally. It was the beginning of this huge thing that was about to come into New York. I’ve heard of people talk about it in terms of Punk rock. It was just being in the right place at the right time. We were kind of the early group. We just kind of stuck with it and stuck with it. A lot of people fell away. They weren’t interested or weren’t able to do it or whatever, but we just kind of clicked with each other and supported each other, then eventually just by sticking around and sticking around and keep going and keep going and keep going, you get good at it. But we sucked for a long time. And I still suck. I suck periodically. I don’t think I’m the funniest person in the world, but you just keep working at it. You just want to keep on learning.
JF: What were the early classes like at the UCB?
RH: Well, in the beginning it was taught by the 4 of those guys, Ian [Roberts], [Matt] Besser, [Matt] Walsh and Amy [Poehler]. I was a huge fan of Ian’s classes. For some reason I just liked the logic. He’s just such a machine. It just really appealed to me. It took away any of the guess work of it. He almost made it mathematical. I was a big fan of his. He was my level 1 teacher. I think I took Amy for level 2 and she’s great too. They’re all great. They’re just great for different reasons. They just have totally different styles. I eventually took classes with all of them, but for me Ian was just such a pleasure to watch. He could take the most absurd thing and play it so straight. You hardly ever see him laugh. I used to be really good at that, not laughing. For years I used to be really good at that, but I would say in the past year I’ve become too casual and I’ve started laughing sometimes on stage. I’m trying to get better at that.
But the early classes were all taught by those guys. They were small. They would have 17 or 18 people in them. It was very similar to what’s being taught now. It was still the Harold. When I was teaching, I tried to teach off a syllabus that Ian had. Ian handed out this syllabus a long time ago, that was kind of just a guide, and I tried to teach off that. Everyone has different styles and different approaches but I think the fundamentals are the same. I don’t really think that changes too much. I just think you just have to do the basics at first. I only taught level 1. I really enjoyed teaching new people, except you.
JF: This is over!
RH: Yeah, the early classes were fun. I remember I used to get so nervous in class. It was such a weird thing, and I wasn’t used to performing. You’re getting up with one other person and doing a scene in front of 18 or 20 strangers. It just makes you nervous. It was just one of those things that I had to force myself to do. It was terrifying, but it was very supportive. I always felt like it was a very supportive atmosphere.
JF: Did the concept of the ‘game’ click quickly with you?
RH: I could grasp it intellectually. I knew what it was, but I didn’t always have it in my scenes. It’s something you really have to focus on. You have to think: ‘what has been said, and of that what is the unusual thing? And how do we have fun with that unusual idea?’ I guess that I got it right away in my brain, but that doesn’t mean it was always in my scenes. It takes a little while. Even now, I perform with people who I’ve performed with for years and years and years and we still buzz past things some times, because I think there’s a tendency now to maybe not play the first or second thing. We’re waiting for something bigger and more complicated and some times that fucks it up.
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