These interviews were conducted for New York magazine, People, Playboy, The Believer, Entertainment Weekly, The Montreal Review and more.
Jenny Slate [on her goals when creating new work]: I guess now, for me, the choices I make in my own work are about making sure that I am comfortable in my daily life, first and foremost. I want to make sure that I don't feel that I'm taking any steps backwards or reinforcing oppressive narratives or character tropes when it comes to women in our society. I want to keep my eye on all of the tiny ways that I am complicit in that. I want to use my voice more that ever. And I want to make sure that I'm not needlessly cruel, and that my comedy is fresh and new. In the work that I create from the ground up, I just want to help myself feel good, to use my heart and intelligence for growth, even if it hurts a little, and to give people something that can open their minds and make them feel appreciated as complicated and flawed and gorgeous live beings.
Rob Delaney [on Catastrophe]: I think they're sort of in it to win it. If their relationship had a charter, which it doesn't – nor do my wife and I have one – but if you asked them about their marriage and what their goals are for it, and they were in separate rooms, I think they would have similar answers. And I think that they're also a little bit older than your average sitcom couple first meeting each other. So their endurance might be better. They've been disappointed before, and realize that they bring the same foibles as shortcomings to every relationship that they've been in, so I think that sort of sands down the rough edges that might have been in their earlier relationships. It's not just that they love each other, but they're also willing to do the work and they're willing to forgive and surrender in certain areas when that's beneficial to the relationship at large. (People Magazine, Apr. 2016)
Miranda July [on The First Bad Man and living romantically]: I think there’s a power in that. Sometimes when a friend of mine is on tour and really depressed, I’ll say, “Remember the glamor of your life.” If you look at yourself from the outside, you’d be like, “Wow, what a glamorous person.” And granted, Cheryl is the least glamorous person on earth, but all the more reason to see yourself on the outside like a glamorous figure, and I feel like that can lift you up sometimes. But there’s a lot in this book about living and fantasy and really getting stuck in it. (Playboy, Apr. 2015)
Dan Deacon [on touring with Miley]: I don't know if sounds need to complement each other, though. I really like at botanical gardens, how the cactus room is right next to the chrysanthemums. It's all right to have two very different things, but I think the one thing that the Venn diagram of our music would be is to make people feel like they can be themselves, and to have fun doing so … to not be afraid of your individuality and your exploration to find it. (People Magazine, Dec. 2015)
Robert Krulwich [of Radiolab]: The safest place to be is always halfway into your future, without even knowing what it is. (The Believer, Aug. 2013).
Reggie Watts [on performing]: Because there’s no narrative, there’s no arc necessarily, there’s nothing that really makes sense. It’s very similar to adjusting the dials on a radio or changing channels on TV randomly. There’s no logical narrative, and usually I’m looking for things that are very disparate, so that I’m making sense out of nonsense. (The Believer, Sept. 2013)
Eric Wareheim [on censorship]: It’s so funny. You can show a guy getting his head blown off with a gun, but you literally can’t make a sexual thrust. But that’s helped us with all of our shows. We’ve done weird sex moves, and it helps our comedy, because we’ll do a spin and a slap and that’s how we’ll portray sex. (Playboy, Apr. 2015).