Key & Peele: Obama Shutdown
Most of the writing I did on Key & Peele was rewriting, but there are a handful of sketches that I worked on from inception to air. Here’s one of them.
Most of the writing I did on Key & Peele was rewriting, but there are a handful of sketches that I worked on from inception to air. Here’s one of them.
White bar patrons try to make their feelings about racism as clear as possible. This was the genesis of my typecasting as a racist bartender. (My part’s at the very end, but the sketch, by Rebecca Drysdale, is well worth sitting through.)
Working on Red Nose Day is always an adventure — you never know when you might be directing Steve Buscemi on a merry-go-round next to the East River.
I went onstage and told my story about reluctantly inheriting a 40-pound statue of my teenaged self. Unfortunately, I still have it.
For a season, I was a correspondent on “The Awful Truth.” I can’t believe the things we were able to get away with in pre-9/11 America. (That’s Rob Huebel inside the gun suit.)
I directed this presentation in one weekend. It features the brilliant Heather Anne Campbell, a flame-throwing performance by Ian Roberts, and a hilarious turn by Eddie Pepitone. I’m less funny as a beleaguered editor.
This small, no-budget film was inspired by post-9/11 craziness and features great performances from Ian Roberts, Jessica St. Clair, Jason Mantzoukas, Zach Woods, Rob Riggle, and many more. It went on to win a Special Jury Prize at the Ft. Lauderdale Film Festival and the Audience Award at Cinequest.
Yes, that’s Oscar-winning Octavia Spencer. In retrospect, I’m sorry I convinced her to put snails on her face.