Corey Stoll is one of those actors that you’ve seen but might not recognize. He’s been in a handful of cop shows, most recently he played Detective Thomas "TJ" Jaruszalski on Law and Order: Los Angeles until that show was cancelled. He was in an episode of The Unusuals, which was a great show in my opinion, but it too was eventually pulled. Lately, he’s gained accolades for his turn as Ernest Hemingway in Woody Allen’s fantasy Midnight in Paris starring Owen Wilson. It’s a truly fantastic tale where larger-than-life characters from the Lost Generation of Paris in the 1920s (Hemingway, Fitzgerald, Picasso, Gertrude Stein) are visited by Wilson’s character who gets lost one night while walking through Paris…you guessed it, at midnight.

Chris Bowman: What were your thoughts on Ernest Hemingway as a person before playing him in the film?

“Shut Up Little Man! An Audio Misadvanture” is a documentary about audio verite: the art of capturing and reproducing audio from day-to-day life without commentary. It centers around two young men, Mitch Deprey and Eddie Lee Sausage, who live in a cheap, run-down apartment in San Francisco in the late 1980s. Their neighbors, Peter Haskett and Raymond Huffman, are two old drunken men who belt out profane yet oddly comical arguments nightly. Mitch and Eddie record these arguments and begin sharing the resulting audio with friends. Although the circumstances around the arguments are disturbing and even mildly frightening, the material is also weirdly compelling and sometimes amusing as Raymond and Peter exhibit a unique and intricate style of verbal abuse. Over several years, the tapes are circulated via underground networks throughout the country and become a viral phenomenon that inspires songs, plays, comic books and essays by artists and writers as varied as Kevin Peaty, Daniel Clowes and Devo.

The film explores how the tapes spread so widely and the impact of the material’s popularity on the lives of both the recorders and the recorded. It also examines the thorny legal, artistic and moral issues around developing commercially successful projects from material that the artist found and recorded, but did not create.

It was directed by Australian filmmaker Matthew Bate who kindly answered a few of my questions about the film.

Follow this link to read our discussion.

Nathan Rabin has been the head writer of The Onion's AV Club for over ten years, his first book The Big Rewind: A Memoir Brought to You by Pop Culture delves into the unusual upbringing that helped create the pop-culture savant that we know and love today: in a way that's both hilarious and heartbreaking.

Jesse Armstrong is one of the co-creators and writers of the BAFTA-winning BBC sitcom Peep Show. (A BAFTA is like a British Emmy.) Now entering its sixth series, with a US version in development at Spike TV, Peep Show is a funny, but cringe-inducing, depiction of the lives of two twenty-something flat mates, played by past TSOYA guest David Mitchell and comedy partner Robert Webb (above). Its first season recently became available in the US on Hulu. No less an authority on UK comedy than Ricky Gervais called it "The only British thing that I was really blown away by in the last few years."

Armstrong has also written for other acclaimed television series, including the sketch series That Mitchell & Web Look and the political satire The Thick of It.

MaxFun Contributor Matthew Phelan spoke with Armstrong from the UK.

Matthew Phelan: You've said that you and co-creator, Sam Bain, and the show's stars [David] Mitchell and [Robert] Webb, met in something called a "writing team experiment" within the BBC …

Jesse Armstrong: Yeah. [laughs] It was fascinating because there is a definite mystique around American writing techniques in the UK--the long runs, the more successful audience figures. We have a problem getting mainstream comedies to work and people often think that it may be something to do with [not using] the team system. I think there are interesting things about having teams of people on a show, but I definitely don't think it's a magic bullet.

So, this was a really ill-thought-through plan to create a British, team-writing situation. The people behind it thought that, to do a team show, you got six people (in this case who didn't know each other) in the room with a producer and a one-line idea--which was, "What if there was house that was squatted and these people all lived together." We wrote the script between the six of us. Each taking, one sixth of the script and we came up with this horrible, kind-of "Frankenstein's monster" as anyone would imagine. Anyone with any knowledge of the US system knows that you still have a show creator who writes the pilot, sets the tone.

So, that was disastrous, but we went into it not knowing David [Mitchell] and Robert [Webb] and came out knowing them quite well, as we sniggered behind our hands and went, "Oh, god. This is terrible what we're doing, isn't it?"

Click "Read More" for more with Peep Show Co-Creator Jesse Armstrong, including audio of the full interview.

Charles Spearin is a member of Do Make Say Think and Broken Social Scene, whose first solo project was released in February under the moniker The Happiness Project. To construct the album, Spearin interviewed his Toronto neighbors on the subject of happiness, then built melodies around fragments of their speech. Spearin recently spoke with Chris Bowman about community, life, and the likelihood that your neighbors are as amazing as his.

You could say this project was inspired by silence. Can you explain how The Happiness Project began?

Well there are a few different origins to the project that kind of came together nicely into one neat package. My father’s a Buddhist, and I was raised with Buddhism in my house and in my early twenties I started doing meditation retreats. In the practice of meditation there’s a lot of emphasis on reflection and awareness of your breath and that kind of thing. And in coming back home you really start to notice a lot of things you wouldn’t normally notice. And one of the things, in this case, would be the melody of speech. When people talk they’re so concerned with getting the meaning across that they don’t pay attention to the sound of their voice, unless they’re a radio announcer or something.

The main theme of the record is happiness, but you’re also making a statement about community. What made you turn to your neighbors?

Well, my neighbors are right there. That was one of the convenient things about the neighborhood. You know, I have two little kids now, and when you have kids the neighborhood becomes very significant. You live in it, it’s your home, it’s their world and I started to appreciate just how fortunate we are to have this community. It’s very mixed, it’s very healthy, and everybody looks out for each other. It’s downtown but it’s still safe. In a way I wanted to do a musical sketch of the community. So combining the thoughts of doing music on speech with the idea of doing a musical sketch of the neighborhood was putting two and two together and bringing my neighbors over to talk about happiness and life and listen to their voice for musical cadence.

Were you aware of how inspiring they were ahead of time?

Well, no. They’re just ordinary people. I think when you bring people into your home and give them a comfortable place and give them a chance to open up and be even a little bit philosophical a lot of people have a lot of wise things to say. It’s amazing, you never know what your neighbors are going to say, you never know who they are unless you encourage this kind of communication. Which really kind of amazed me. At first I was just using them to some degree as guinea pigs to just get the melody of their voice. But they kept saying the most wonderful things. So I shifted the focus a little bit.

It’s a shame you had to use such small snippets. I’m sure the rest of the interviews were peppered with other wise words.

Yeah, there were some great moments. Mrs. Morris had a great talk about her grandmother living to be 126 years old in Jamaica. She’s got lots of great stories.

At a recent live performance you mentioned (jokingly) that you had decided to become an expert on happiness and that you were reading Stumbling On Happiness by Daniel Gilbert. Do you think at some base level there is a universal formula for happiness?

Certainly in Buddhism there’s a universal formula for suffering. That’s, basically, thinking about yourself. Become self absorbed and you’ll become miserable. So the natural opposite of that is to think about others and you’ll be happy. Or let go of your idea of self then you’re more likely to find happiness. That’s part of The Happiness Project as well. If you’re listening to the world, you’re less likely to be self-absorbed.

You admitted to being unfair to one of your subjects, Marissa, by asking this question. So I’m going to play the role of you and ask, what quality do you think is the most important quality in life?

That’s a hard question. That’s a bastard question actually. I can’t believe she got through it. (After a long deliberating pause) I can’t believe she answered it so quickly! It doesn’t take much to feel lucky, you know? Maybe that’s the important quality I’m looking for. Appreciation. Being able to appreciate the life that you have without struggling to find something else.

The Happiness Project is available now on Arts & Crafts. You can hear the beautiful music Spearin created here.

If you haven't already heard of the funnyordie series Drunk History, now you have. Now please go tell your friends. Series creator Derek Waters (he's the Derek in Bob Odenkirk's Derek and Simon web series) spoke with Chris Bowman and explains how alcohol + academics = comedy.

One of the great things about the Drunk History series are the lessons that can be learned. What are some important lessons as an actor/writer you have learned while filming this series?

The most I've learned making Drunk History is working on timing. The whole way it works is all in the timing. In the narration and the re-enactment. Also I've learned in the bigger picture that telling people about this idea was very hard. It has taught me that if you find something funny, you should DO it and not worry what others think. Just make it.

Not everyone who drinks to excess throws up, and yet it seems you have a knack for finding the ones that do. Eric Falconer in episode 2 is an absolute champ. How do you select the storytellers for Drunk History?

Everyone we have filmed does puke. This isn't anything I do to him or her. It just happens. Eric Falconer is the winner though. We only show it once. I don't find puking funny...but Eric's puke was beautiful. All the people that are storytellers, I've known for a while. I know they are smart... and drink. Then I ask certain people, what their most passionate time of history is, and what they feel more people should know about. All the stories they tell, they really love and are excited to tell. Works better that way, rather than some idiot making stuff up.

There are some very funny people involved in this series. I can't imagine it feels much like work when you all get together. What is a typical shoot day like?

Man...I don't know. I'm working with people I look up to, in front of the camera and behind. Everyone is there for fun, and wants to be there. With no money, it means you are doing it just ‘cause you love it. Very few things you get to work on are ones that everyone around you wants to be there. I only want to work on stuff like that. That's my dream.

It's not everyday an actor is asked to mime along or lip sync to a drunk retelling of history. How do they initially respond to the challenge?

It's hard. Jack Black said he had never done anything like this. We have the narrator voice on a computer playing as we shoot. It takes awhile, but it's very fun. The actor has to talk like the narrator, and act like the character they are playing. It's a lot to do.

I think this series needs to be shown in classrooms (although, I see the problem with that). It's a great example of the fun you can have with history after actually learning it. I guess it could apply to most subjects. Why did you go with history?

Thanks! I was going to do a different subject, which I'm going to do soon. But I think you have to start at history. Most people don't take drunk people seriously unless they too, are drunk. And most of the time drunk people don't talk about anything important. So I thought it would be great for them to talk about stuff that actually does matter, and on a subject we all know. And if we don't know it, we might remember some of it from school.

Given that DH is a labor of love, do you only work on it when you have time, or do you have some sort of schedule?

I wish I could make them every day. It’s hard because I want to do it all the time, but I also don't want it to ever get old to me. When Jeremy Konner and I go to the narrators houses it takes a lot out of us too. Watching someone drink a lot and get sick isn't always fun.

When can we expect the next episode? Who do you have lined up to appear?

I would love to tell you but that is a surprise! Please don't hate me for that answer.
It's the most amazing thing to me how many people want to be in these little videos. That's been the biggest surprise to me.

Anything you'd like to add for The Sound Of Young America listeners/readers?

Please watch Drunk History and send it to your friends if you like it. You will see it on TV hopefully in July. I wish I could say more but people make me keep my mouth shut.

Over the past few years, CollegeHumor.com has gone from a repository of "Cat Gets it in the Jewels" videos to one of the internet's top sources for original comedy. Now, the College Humor team have created a television series for MTV, which premiers Sunday night at 9:30. MaxFun scribe Casey O'Brien talked with Jeff Rubin and Streeter Seidell, two of the minds behind the show, about making a career in comedy, and making the transition from the desk to the family room.

What do you think sets College Humor apart from the millions of other sites posting funny videos and articles?

Jeff: The biggest difference is our original content, which very few people are doing at the professional level we are and even fewer are doing well. So there's that.

Streeter: When I started at CH we did not do any original video. A year or so later we started to introduce it slowly so it was kind of like, "if you came to watch wacky cat videos, you can still do that. And, hey, if you have an extra few minutes, maybe you'll like this sketch we made, too." We built a following for our original stuff within the audience we already had for our submitted video and I think the two worlds - the viral video world and the original video world - found a nice balance on the site.

Jeff: But even for the less glitzy parts of the site, like the links and the random Internet videos, we try to give it a personality. Instead of just saying, "Here's a video of a Japanese Goblin Shark," we'll say, "Japanese Goblin Shark - the three scariest words known to man." We're not just an automated "best of the Internet" thing. Our collection is manually curated by the same people that write and star in the videos and I think that comes through. We're not just faceless administrators, so hopefully it's a lot more personal.

Streeter: At the end of the day, I think CollegeHumor is different because it evolved slowly and intelligently from a much simpler humor site. It built an original humor brand on a solid viral video foundation and I don't think we'd be successful today without either one of those things.

What inspired you guys to get into comedy?

Jeff: I'm tempted to say it's because people made fun of me in middle school, but the truth is I was into comedy before that. I think when you're five-years-old you find a movie you love and you just watch it three times a weekend, and for me that movie was Spaceballs. In about fifth grade, I used to write a silly newspaper called The Daily Smell that I gave away to my classmates. I listened to Weird Al albums like they were actual music until approximately high school. Hard to believe I wasn't more popular!

Streeter: I think I knew I wanted to do comedy after the first time I did standup. I was terrified the night before. I actually had a panic attack and forced my friend to take me to a hospital in the Bronx (not a place you want to go to the hospital with anything less than a gunshot). But the next night I was sitting in Standup NY and heard the MC call my name. I went up and did the garbage five minutes I had written a week before. And I did great. I think the MC had said something like "this is this guy's first time" before I went up so the audience was a little more forgiving but by the end of my set I was getting genuine laughs. After the show I was sitting in the bar and all these older people were coming up to me and saying how much they enjoyed my set. It was a great feeling and I knew then and there I wanted to do some form of comedy for a career. If I had bombed I don't think I would have continued with comedy.

What is this College Humor TV show thing that people keep jabbering on about? What is it exactly and how is it going to be different from the website content?

Jeff: "The CollegeHumor Show" is going to be a natural extension of the stuff you see on the website. Imagine a half-hour long Hardly Working with a three-act plot, guest stars, cut-aways to other skits, and higher production values.

Streeter: We wrote the show, play fictionalized versions of ourselves and shot it in our office, much to the annoyance of all the other people who work at CH but aren't on the show. With the show we had 20-something minutes so we got to play with the story aspect and got to explore the characters a bit more. Hopefully we were able to preserve the tone of the stuff on the site and, if we did that, people who like Hardly Working will probably enjoy the show.

What's the hardest part about writing comedy and being consistently funny?

Jeff: I'm well aware how spoiled I am, but working with 10 of the funniest people I've ever met has in many ways made me jaded. Sometimes it takes something really over the top and bizarre to get a hearty LOL out of me, and it can be tricky to sort out what's funny to us and what's going to be funny to the rest of the country.

Streeter: I think the hardest part about being consistently funny is dealing with the fact that you will never be consistently funny. We're lucky to work at a place that doesn't put an unreasonable pressure on us to produce at all costs, so if you just don't have any amazing ideas for a month or two you're not going to get fired. However, because Ricky understands that creative people cannot be creative at gunpoint, the pressure to be funny comes from within. If he were breathing down my neck to write something funny and I couldn't do it, I could blame his pressure for stifling my creativity. But when I can't think of something funny I only have myself to blame, which is a much worse feeling. Dealing with that failure to produce, or to produce quality material, is the hardest part of writing comedy.

You guys have actually made money from being funny. What advice do you have for people that are trying to get into the world of comedy writing?

Jeff: Going into comedy to make money is crazy. If that thought doesn't discourage you, you will be fine.

Streeter: The way that almost everyone at College Humor wound up there was by writing tirelessly and being generous with their talents. A lot of people I meet will say things like "You're so lucky you got a job there." And to a degree they're right. Certain things just happened to get me there, but I also worked ceaselessly, and for free, for almost two years to get myself into a position to be hired. "You're so lucky," yes. But I also spent most of my senior year in college sitting at my desk writing articles instead of going out and partying. Most people there have similar stories, though most started as very talented, dedicated interns. And the common thread we all share was a willingness to put ourselves and our writing out into the world. It's great to be the funniest guy in the frat but nobody in a position to pay you is going to come knocking on your door if you never put your talents out into the ether. There's certainly no recipe for success and, yes, there is certainly an element of luck involved, but if you're talented you cannot harm your chances of doing this professionally by putting yourself and your work out there as much as you can.

Casey Willis and Christian Danley are both writers for 70-30 Productions, an animation production house that has produced such classics as Sealab 2021 and Frisky Dingo. Their new spin-off series,"The Xtacles," premieres November 9th on Adult Swim on Cartoon Network. Casey O'Brien got a chance to talk with the writers about their new show and their lack of qualifications for their jobs.

How did you both get started in the world of animation, and in particular, "Frisky Dingo?"

CW: Christian and I both attended the Atlanta College of Art. After I graduated, I was teaching English in Japan when Christian started working for 70-30. When I returned to the states, he greeted me at the airport with a Sealab t-shirt and a smile. I thought he had the coolest job on earth. A few months later I asked him if I could try out for an internship at 70-30. That internship eventually led to a full-time position.

CD: I was an improvisor at a local theatre here in Atlanta called Dad's Garage. Matt Thompson came and saw an improv show shortly after 70-30 Productions had finished the first couple episodes of Sealab 2021. He asked me to come in and help write on a script. That was about 7 years ago.

You have both worked on the show "Frisky Dingo" and are now moving onto the spin off, "The Xtacles." What is it about working and writing for an animated series, as opposed to a live action sitcom, that you find most appealing?

CW: Because of our style of animation, we can make changes to the show very late in the process. I think that is a freedom you might not have on a live action sitcom, especially one filmed in front of a live studio audience.

CD: Working on what we'd call a "real TV show," as opposed to our semi-fake one, would probably dictate a much larger crew. Our shop is small, there are only 8 of us who make this whole cartoon. That means we all have a hand in just about every aspect of the process. The illustrators and animators comment heavily on our scripts (they are always jerks), and we offer feedback on their drawings and animations (we are always supportive). I couldn't imagine we'd have that same luxury in a larger production company.

Why did you guys decide to do a spin off of "Frisky Dingo" and how is it going to be different?

CW: Cartoon Network was interested in doing a Frisky Dingo spin-off and the Xtacles seemed like a natural choice. One of the biggest differences between Frisky Dingo and The Xtacles is the Xtacles will be taking off their helmets and you'll finally be able to see what they look like. One Xtacle did take his helmet off in Frisky Dingo but we only saw the back off his head before he was dismembered by Awesome-X.

CD: Before Frisky Dingo we did Sealab. Almost every episode of Sealab ended with it blowing up, and the world re-setting. Frisky Dingo was heavily serialized where some jokes don't payoff for 3 or 4 episodes (if ever). Our goal is for The Xtacles to be something comfortably in-between.

This new breed of cartoons with adult content is still a relatively new phenomenon. What are some of your influences in writing for this program?

CW: I like to watch The Soup and Best Week Ever and if the same joke is made on both programs I know it must be funny. Then, I steal those jokes and write them a third time because I have been told that the third time is a charm.

CD: I love television, I have watched it my whole life. Also, technically we shouldn't be allowed to write for a living, as we have no training in it. So we write television for people who grew up watching television. The jaded, cynical, and smart assed jerks who think they know everything about television, not because they went to television school, but because they've studied it all their lives just by watching. This group of people is notoriously hard to please. (apparently... they're jerks)

The show is obviously not meant for children. Do you ever have trouble getting certain jokes on the show or is there an inherent understanding when it comes to programming on Adult Swim?

CW: In Frisky Dingo we really wanted Xander Crews to say "god dammit" without censoring it. We were told there had to be a full one second pause between the words "God" and "Dammit". On that day I learned a full second is the difference between righteousness and blasphemy.

CD: Because we're on Cartoon Network there is always the potential that a kid could tune in. So they really go over our scripts with a fine tooth comb. We like to use any "offensive precedents" set by other shows as leverage to get our own offensive jokes on the air. This has varying degrees of success.

Go check out The Xtacles, which premieres on November 9th at Midnight on Adult Swim on Cartoon Network.

Henry Owings is the editor and publisher of the music magazine, Chunklet. He recently released the book, "The Rock Bible: Unholy Scripture For Fans and Bands," which outlines the do and don'ts of being in a rock band. Casey O'Brien talked to Henry about his new book and the sins that rock n' roll has committed.

What spiritual awakening led you to be a prophet of future and current generations of rock musicians? In other words, what called you to write The Rock Bible?

Well, Casey, it happened like this: While editing an issue of Chunklet one beautiful Friday night, I was pulled from my work by the door bell. Because I live in the crime-ridden, redneck-ravaged South, I slipped my unregistered "throw-down" piece - a Smith and Wesson .38 long-barrel revolver with a filed-down serial number - in the back of my belt, pumped a shell into my Winchester 12 Gauge "Snake Popper" (sawed-off for...uh....easy storage), and answered the door. It was our veterinarian, making a house-call to deliver heart worm pills for my two standard poodles. Now, this was odd, as our vet would usually make this stops in the morning. That is, if we even had a vet. He was a middle-aged man in a vet/doctor's coat, which was unbuttoned to reveal a medallion resting at eye-level, as I was still confined to a wheelchair due to violently flipping my Baja Bug just seven days prior to this visit. When I tried to sign the invoice for the pills, the medallion blinded me with a beam of light. That's the last thing I remember before waking up, in front of my computer, my head loaded with the divine assignment of writing The Rock Bible. My, shall we say, "editor", if you will, did not phone this one in...I was missing five hours from the evening. And, it should be noted, this is just the first volume of three books I've been instructed to call "The Final Collection of Rock and Roll Writing." After a glass of water and a sandwich, the book simply poured out of me over the course of a week. Then, as I was listening to the Groundhogs "Solid" album, a voice coming from my computer's speakers instructed me to enlist the talents of Patton Oswalt, Brian Teasley, Andrew Earles, Dag Luther Gooch, and the other individuals in the "contributor's" section. That took a little bit of time.

In verse 71 of The Gospel According to the Band, it states "Never take anything you do seriously." This manifesto fits right in with your magazine, Chunklet. Why is not taking yourself seriously so important in rock music?

Because when rock musicians take themselves too seriously, certain tragedies occur. Not only does The Rock Bible teach the helpless how to avoid taking themselves too seriously, it teaches them how to do so correctly. When musicians attempt but fail at not taking themselves too seriously, you have an entirely different set of tragedies. There's a huge difference between not taking yourself seriously and actually being funny/inspired/clever.

When you say that "certain tragedies occur" when bands take themselves too seriously or don't take themselves seriously incorrectly, what is it that makes it so tragic?

It's very simple, Casey, both of these situations breed one thing: Mediocrity, and mediocrity is a virus that infects rock music to a degree that, if not monitored, could prove terminal. When, for instance, a band ham-fistedly avoids seriousness by adopting an 80's theme (video games, video game music, Hyper Color wear, out of date
technology), they create mediocrity. It is not inspired or clever and must be stopped.

Tenacious D, School of Rock, Guitar Hero, and Rock Band have become popular by parodying classic rock while simultaneously praising it. How does your book fit in with those other entities and what is your opinion of this trend?

It doesn't fit in. The Rock Bible is not a parody; it is a manual for daily living. The examples you've given are nothing more than pedestrian poppycock designed to amuse cigar-chomping dart-tossers that hang out in suburban establishments with names like "The Fox and Hound." The bottom line is this: Those entities despise the source material. The Rock Bible hemorrhages passion for the source material.

What lessons can your followers look forward to in the upcoming volumes of "The Final Collection of Rock and Roll Writing"?

The helpful truth. It will either encourage the break-up of the bands that need to break up, or the improvement of artists that use the teachings wisely. With the content's incendiary nature and book sales in mind, it should come as no surprise that I cannot go into great detail about the two upcoming volumes. Let's just say that fists will rise into the air and tears will fall to the floor.

You can get more Henry Owings at Chunklet magazine or by picking up a copy of The Rock Bible. You can also listen to his interview on The Sound of Young America.

An old friend of The Sound of Young America, Mary Van Note, has been on a tear lately. She's landed her own IFC.com web series, and is touring the nation with her acclaimed (and bizarre) standup comedy. Chris Bowman talked with Mary about the turns her burgeoning career has taken.

You teamed up with IFC.com this summer to release the web series Gavin Really Wants Me. How did IFC initially discover you?

I had some videos posted on Nerve.com, a sex magazine, which was a perfect fit for my weird and sexually themed videos. Nerve.com and IFC.com partnered up to put together these top 50 lists like Top 50 Greatest Sex Scenes in Cinema, and the popular Top 50 Comedy Sketches of All Time. I guess when they partnered up, the Nerve people showed the IFC people their video content and BAM! my series and the Nerve series “Young American Bodies” got connected with IFC.com.

Have you always had a raunchy sense of humor? Where did it come from?

No, I haven't. I'm just your average girl who was raised Catholic and has issues about sex. I was pretty obsessed with it for awhile, and by "it" I mean talking about sex, but lately I've been writing about everyday things like roommates and internet dating.

What do you find more rewarding, performing live or producing the online comedy shorts. Why?

That’s pretty hard to say. I love doing both and they’re both so rewarding in different ways. I will always enjoy performing live. The feedback is immediate and there is always the feeling that anything can happen when you perform live. It is such a thrill to make a room laugh. Producing online content is a thrill as well. Probably my favorite aspect of producing and directing online comedy shorts is the ability to collaborate and work with others. That’s something you don’t get with traditional stand-up comedy.

What is the most valuable thing you have learned from collaborating with others?

Being a director was entirely new for me. The most valuable learning experience was simply communication. Communicating as a director working with a cast and crew was challenging and new for me, but became hugely rewarding.

When did you decide you wanted to go beyond the standard set-up/punch line style of comedy and embrace a more challenging performance art style?

I never consciously decided to embrace a certain style. The first time I ever performed I was really nervous and my material was more storytelling than “club comic” jokes. That first set went really, really well and my mentor told me to keep that nervous energy. Since then I’ve developed into a more mainstream form of a who I was when I first started. I’m still weird and quirky, and can perform at the most alt-y of rooms and theaters, but I can also perform at Blank Comedy Club with the best of the road comics and hold my place.

What is coming up next for MVN?

Jan 24—Feb 17, 2009 I’ll be a part of Belles and Whistles: the indie music and comedy tour of ladies making noise from San Francisco. Uni and her Ukelele, Foxtails Brigade and I will be touring the Pacific Northwest hitting cities like Portland, Seattle, Vancouver, Salt Lake City, and more.

2009 will be full of fun and excitement: traveling and performing, recording my debut comedy album, and shooting videos.

Mary's online at MaryVanNote.com or myspace.com/maryvannote. She also hosts the regular San Francisco comedy & performance series Comedy Darling.