Lorne Michaels on Here's The Thing

by Thomas Brady in , ,


Not many people are funny for 40 years. Even fewer people are successfully in charge of funny for 40 years. Saturday Night Live has been relevant and funny (most of the time, anyway) for over 40 years because of the brilliant oversigut of Lorne Michaels.

That's why I'm saying, whatever you're doing right now, stop it. Go listen to this episode of Alec Baldwin's podcast, "Here's The Thing," or, if you prefer, read it.

This is probably the part that hit me hardest with its head-smacking insight:

No one believes that we do what we do here in six days ‘cause there’s not much an approval process.

Out of context that sentence structure is a little weird, so I'll rephrase. Saturday Night Live can do in a week what most production teams can't do in a month because there's not much of an approval process.

He goes on:

Exactly. With the movie business, because it’s way better run as is primetime television, every paragraph is scrutinized and reviewed and I say it every week, we don’t go on because we’re ready, we go on because it’s 11:30. It somehow focusses people and I trust that process.

And to sum it up with a gut-punch:

The pace of "SNL" was like think of it, do it, and then think of something else. And that puts the creative people in charge.

And there it is. Looking back at my career so far, this was the difference between the places where I saw creativity thrive and where I saw it writhing in agony. It's a big part of why I just can't stomach most companies with more than a hundred employees.

Ken Segall, in Insanely Simple(that's a dirty, dirty affiliate link), argues that this is one of the ways Steve Jobs kept Apple from acting like a "big company."

P.S. I can't not include this quote:

Producing, for me anyway, is like an invisible art. If you’re any good at it you leave no fingerprints.


"Play It Like Your Hair's On Fire": a 2002 Profile of Tom Waits by Elizabeth Gilbert

by Thomas Brady


austinkleon:

Along with her TED talk, a must-read.

Perhaps The Most Singular feature about Tom Waits as an artist- the thing that makes him the anti-Picasso- is the way he has braided his creative life into his home life with such wit and grace. This whole idea runs contrary to our every stereotype about how geniuses need to work- about their explosive interpersonal relationships, about the lives (particularly the women’s lives) they must consume in order to feed their inspiration, about all the painful destruction they leave in the wake of invention. But this is not Tom Waits. A collaborator at heart, he has never had to make the difficult choice between creativity and procreativity. At the Waits house, it’s all thrown in there together- spilling out of the kitchen, which is also the office, which is also where the dog is disciplined, where the kids are raised, where the songs are written and where the coffee is poured for the wandering preachers. All of it somehow influences the rest. The kids were certainly never a deterrent to the creativity- just further inspiration for it. He remembers the time his daughter helped him write a song. “We were on a bus coming to L.A. And it was really cold outside. There was this transgender person, to be politically correct, standing on a corner wearing a short little top with a lot of midriff showing, a lot of heavy eye makeup and dyed hair and a really short skirt. And this guy, or girl, was dancing all by himself. And my little girl saw it and said, “It must be really hard to dance like that when you’re so cold and there’s no music.’” Waits took his daughter’s exquisite observation and worked into a ballad called “Hold On”- a song of unspeakably aching hopefulness that was nominated for a Grammy and became the cornerstone of his album Mule Variations. “Children make up the best songs, anyway,” he says. “Better than grown-ups. Kids are always working on songs and throwing them away, like little origami things or paper airplanes. They don’t care if they lose it; they’ll just make another one.” This openness is what every artist needs. Be ready to receive the inspiration when it comes; be ready to let it go when it vanishes. He believes that if a song “really wants to be written down, it’ll stick in my head. If it wasn’t interesting enough for me to remember it, well, it can just move along and go get in someone else’s song.” “Some songs,” he has learned, “don’t want to be recorded.” You can’t wrestle with them or you’ll only scare them off more. Trying to capture them sometimes “is trying to trap birds.” Fortunately, he says, other songs come easy, like “digging potatoes out of the ground.” Others are sticky and weird, like “gum found under an old table.” Clumsy and uncooperative songs may only be useful “to cut up as bait and use ‘em to catch other songs.” Of course, the best songs of all are those that enter you “like dreams taken through a straw.’ In those moments, all you can be, Waits says, is grateful.

Read the rest →


by Thomas Brady


Kurt Cobain once said in an interview that long before he’d heard any actual punk rock music, he studied magazine photos of punk musicians and imagined what the music sounded like. It must have sounded to him — who knows? — something like what would later be called grunge.
— Tim Kreider, “In Praise of Not Knowing(Reminds me of Bradford Cox’s advice for people who want to hear the next album from their favorite band: “pick up instruments and make your own version of what you would want it to sound like.”)

by Thomas Brady


Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.
— Ira Glass (via Daring Fireball via nefffy)

by Thomas Brady


If you’re a designer, or work with designers, please watch this. If you’re a human being, pay attention to this concept:

I’m a very, very highly tuned appreciator, partly because if I’m talking to people about what things look like, I’d better understand how to look at things - I’d better have muscles of seeing that make me able to see more than some of my colleagues can see.

Thanks, Brain Pickings!