POSTED August 09, 2012
(via thefollowingisforreferenceonly) ⚓
I know now that this was [Richard] Florida’s true genius: He took our anxiety about place and turned it into a product. He found a way to capitalize on our nagging sense that there is always somewhere out there more creative, more fun, more diverse, more gay, and just plain better than the one where we happen to be.
But I’ve been down that road, and I know where it goes. I know that it leads both everywhere and nowhere. I know you could go down it forever and never quite arrive. And I know now that it may be wiser to try to create the place you want to live, rather than to keep trying to find it."
POSTED August 05, 2012
Louis CK interview excerpt ⚓
AVC: In a conversation with fans on Reddit, you wrote that one of the last jobs you had before becoming a comedian was covering football games for local cable-access. That seems like, on one hand, terrible and an incredibly tedious gig, but on the other hand really useful in terms of learning how to put something together.
LCK: Totally. Really useful. Yeah. Covering football games—
AVC: How do you get a job like that?
LCK: Well, I was technical director of a cable station, so I had to do everything. But you get it by going to a local-access cable station—I don’t know if they still have those. But I was a volunteer intern, and I was in high school. And I learned how to use every machine in that place. My biggest advice to people would be key on the technical. If you learn how to use these machines—cameras and editing systems and stuff like that—then you will have the tools to do stuff creatively. There’s some people who turn up their nose to the technical side of production. It’s the dumbest thing that people do, because then you need to get permission and crews to shoot for you. But I learned how to fix the fucking cameras at this local-access cable station. I knew how to do everything. So I could be trusted with the equipment. That’s really all it ever comes down to, is insurance. They can’t fucking give you the equipment unless there’s somebody qualified to run it. And I learned how to do this stuff when I was 16 years old. So out of high school, I worked at a cable station, and I covered the football games. And so I had to drive this little remote van with a switcher in it and cameras and three big, fucking heavy cases. And there’d be, like, three volunteers with me. Had to drag these cameras up to vantage points around the football field, and the clock is ticking and people are showing up for the game, and start placing the cameras, register the cameras—which is a really weird technical process with tiny screwdrivers—plug them into the van, fucking fire up the van, get all the shots right, punch in all the fucking names of the players and their numbers, and get ready, and here comes the game. It’s a lot of pressure. Yeah, huge training ground. Great benefit.
AVC: One of the things that’s interesting and unusual about your career, especially for a comedian, is that you’re deeply interested and invested in the business, technical, and artistic elements of everything you do, not just the creative side.
LCK: Well, it’s all so interesting. It’s all so goddamn interesting. It really is. I love knowing why I was able to sell out in one town, and why I wasn’t in another town. I love knowing what goes into everything—the economics, the technical aspect, and how to create the ideas in the show. It’s great. If you can have access to all of that, why the fuck would you not want to know? I just love learning. I think learning is how you live. The verb of my life is learning.