Nicholas Stoller Quotations

I think the best romantic comedies don't have villains.

I was born in England - though both of my parents are American - and there's something about the 'Muppets' where they have this combination of English and American humor.

I knew after 'Sarah Marshall' that my favorite genre is romantic comedy. Nothing is more satisfying than a great romantic comedy.

A big part of being in a relationship or marriage or whatever is you have to eventually compromise. Your life doesn't end up exactly the way you think it's going to, and if it's the right relationship, you might have to compromise what you're doing professionally.

As a comedy writer, I'm always praying for the day I can tell a self-aware/break-the-fourth-wall style of joke.

Yeah, it's an origin story. But you very quickly get into the origin and then it's off to the races. It is an origin story, certainly, but it's not like the movie ends and somebody stretches. It happens pretty quickly and I'm not sure how much I'm allowed to say about it, but I think when people see that first hint, they'll be pretty excited about it.

Maybe I'm just not that humble but our script is awesome. Like Jason is so into the Muppets and such a fan. I'm such a fan of Muppets.

Yes, the fans are going to get their money's worth. It's like...and everything on there is funny. It's not like random crap they put in a movie. I think it's all very funny, so.

Every video you see in the movie we have an entire video of it that will be on the DVD, so the whole video for African Child, the whole video for Super Tight, you know the Jackie Q songs.

We have tons of live performances that we're putting on there. We have music videos. There's a music video for the song called I Am Jesus what is one of the funniest music videos, like we just could not find a place for it in the movie, but it's like crazy funny. And we have the whole video.

And there's so much extra material. I mean, I've certainly read as you asked about do I read reviews and stuff, like people are like none of the jokes in the trailers are like in the movie. And it's like and we have whole sequences and scenes that weren't in the movie.

Sometimes a scene can elude you, and then, you also learn that the small moments are really what you're after. A big broad moment that gets the crew laughing, usually isn't going to translate to an audience.

I remember like that scene with Pharrell where they're at the music video shoot, we have this on camera actually, Pharrell's confused because we weren't doing the script. We were doing all this improv and then Diddy says to him... Pharrell's like I don't understand what's going on and Diddy goes, "We do a lot of improv". (laughter) I remember being we just made him into a comedy nerd. We somehow turned Sean Combs into a comedy nerd, so.

When I was writing the script I thought he is this guy. I really hoped...I kept imagining him as that guy. And then he came in to audition and I was really nervous because I really wanted him to do Greek, you know? And he...I didn't know who else I could cast. And he was amazing in the audition. Really funny.

I'm like really bad at like remembering all these things, but basically we finished...we wrapped in August and we locked in February. It was like we did our first friends and family screening I would say 8-weeks after we locked...after we wrapped or 8-weeks after we wrapped.

And then my editor really likes that because he's left alone to do what...to create those things instead of me breathing over his shoulder and I like it because I don't have to sit in the editing room all day. I get to watch just dailies.

Because also, sometimes things that are really funny on the day, when you look at them in post can feel too broad, you know? Sometimes not, but it's kind of weird how that can change.

And sometimes you're not noticing a little eye movement that's hilarious. So it all kind of gets figured out in post. And that guy you were watching was this guy Murray Miller, who's actually not an actor, he's a writer that Rodney and I are friends with. He's just crazily funny, especially when hitting on people.

It's interesting to have the awkward moments play out, and the real human interactions. The more you cut that down, you lose the joke, which is that this is painful and hard.

I think the script's actually pretty solid. It really is a labor of love for us to get this thing off the ground. It was scary but then there was the change in leadership and I think that the new guy in charge is basically like, "We should just do this."

It won't be that expensive, the script is fun, the guys just love this thing, and with all of that, the world is just ready for the Muppets again. It's strange that there hasn't been one for so long. I think there were a lot of political reasons for why that was the case but it's just exciting that now it's going to happen.

They literally have what they would call "a four-quadrant" movie that they could just release at any moment. Parents want to go there, kids want to go there, hipsters want to go there. It's like everyone will want to see it.

I never liked the extended cut personally because I like...we spend a lot of time figuring out our final cut. We test and test and test it, whatnot. Having said that, there's one sequence we're adding back into the movie for the extended cut that is pretty amazing that I think people are going to love.

I feel very creatively satisfied and lucky that I get to write for other people, but for something I direct, it has to be something I completely understand every facet of.

I like writing for other people. I love it. It's great because you write it and then you hand it off to someone else. But in terms of directing, anything I direct will be something I've written or re-written. I'm in no crazy rush to direct.

I've been putting together the story with Rob and putting all the details of it together and looking at all the various designs they have for the toys and stuff, it's pretty exciting.

It's all in L.A. There might be some location shooting as well. I think it's pretty short. I heard it was like six to eight weeks, which is pretty short. But you don't have to do makeup or anything. There's no hair, there's no makeup, there's like one trailer for Jason and one for the actors who do cameos. It's quick. So that's what they're saying. I don't know if that will change.

Like everyone is either, "I grew up with it," or "I loved it," or loved them now. And when you watch The Muppet Movie now, it is so current. It's like The Simpsons before The Simpsons. It's not as cynical as The Simpsons would be but it's self-aware and there are a billion jokes, it breaks the fourth wall every five minutes, it's astounding, it's awesome. It's very exciting to be a part of that.

Yeah, because we wanted to go back to the original tone. It's one of the original movies like The Muppet Movie, Muppets Take Manhattan, The Great Muppet Caper. Those kinds of movies. So that was really important that we hit that tone and those have a lot of cameos in them and so Jason and I started asking people and everyone we asked just wants to do it.

I mean we certainly always shoot a lot of extra material, but our goal was to make kind of like a big kind of rock-and-roll road trip comedy that has heart and that has hopefully you feel bad for Russell and you feel bad for Aldeus and also I wanted to surprise people with some of the turns in the movie and I think when I watched it with audiences they certainly...the reactions made me think that we did and so all that I'm just very excited about it.

But having said that, regardless to what reviews come out whatever, I like love the movie. I think it's great, and so people can think what they think about it, but I'm very happy with what we did. I'm really proud of whatever all the actors what we all kind of accomplished and so regardless of how well it does or whatever I'm very excited about it and I think we set out to do the thing and accomplished what we wanted to do. Our goal was met, so yeah.

I mean I certainly like when I'm like talking to people I'm like what did you think, what did you think, what did you think? You know that's always in the back of my head.

I'm pretty brutal about getting rid of stuff. There wasn't anything where I was like, "Oh, I miss that," because usually it's for a good reason.

I think people try to jam a lot of artificial plot devices into a lot of romantic comedies, and they don't treat it with the respect I believe it deserves.

I love the romantic comedy genre. It's a genre rich with many of the best movies ever made and I try to treat it with the respect that Shakespeare treated it with.

Everyone forgets that what's fun about a romantic comedy is how these two people are going to fight with each other and how's that going to be funny.

I like digital because you can shoot for longer.

And also, I'm most comfortable with like two people just sitting and talking about their feeling, you know, in a room with like two cameras and that's it. And I wanted to do something where there was like action and running and you know crowd scenes and big set pieces and certainly did a lot of that, so yeah.

The Lampoon was definitely quite formative. You know there's a crazy like kind of network of comedy writers from The Lampoon that are, that kind of you know like Seinfeld and The Simpsons and a lot of shows kind of had a lot of kind of Lampoon writers and so that was very formative. I mean, to me I got interested in comedy writing at an early like reading like Dave Barry.

All movies are inherently collaborative, and animation even more so. There are hundreds and hundreds of people involved with an animated movie.

For my wife and I, our first child was really easy to have, but our second one was really hard to have. We had to go to a lot of fertility clinics and do that whole thing.

When I write something, it's usually 'cause I think it's funny or I have a way in, but when I direct something, I really need to be close to it.

When I just write something, it's usually because I love it, I love the material, but I feel like I really need a creative partner to crack it. And I certainly need and have a lot of creative partners as a director.

The worst thing you can do is animate something, and then throw it out because it doesn't work, story wise.

All of the things I've directed, I'm really emotionally close to. That's why I choose to direct them and spend years on them.

And I watch all the dailies and I grade the jokes or the moments, you know, on a scale from... so I know exactly what we have. And so I can then go into the editing room and be like "I want you to do this moment, this moment, this joke, that joke. I'd like to see 3 versions."

Every day is still exciting. I have like a very good system worked out with my editor. Some directors are in there every day, sitting there in the room with the editor. I lose perspective incredibly quickly, and so what I do is I watch...I come in the room and give very specific notes and then I go back to my house or in my office and I watch the dailies.

And then afterwards I worked in advertising for a year which taught me about writing even when you don't want to (laughter) because there's never a moment that you want to write about an Erickson cell phone but you have to. And that's really important you know obviously for the...like if you really want to write, you have to write every day no matter how you feel or you know. And then, yeah, and then I ended up working in TV and then from TV into movies and then directing, so.

And writing comedy and it really taught me how to kind of like craft jokes, it sounds like weird but really focus on crafting jokes and trying to make the writing really sharp. At the same time I did improv comedy in college, and that helped with understanding the performance aspect of comedy, you know, because it's different when you improv something vs. when you write it and they're both kind of part of my process now.

I remember reading Dave Barry for the first time and being like oh my God I can't believe you can do this. Watching Mel Brooks and Monty Python and SNL and all that stuff really informed me as a writer and then at high school I started a satire magazine and the college like The Lampoon really introduced me to like you know a lot of very like-minded people who really wanted to like comedy was the center of their lives.

I was able to bring my process of doing improv with actors into the animation world, which was fun.