Cole Escola describes his sensibility as “gay, absurd.”
I think that’s a particular challenge with the kind of video work that you’ve done. In the years since you and Jeffery Self launched. You are onright now. But you still do these very intimate live and video performances. It’s about you, and your face, and your body, and your very specific aesthetic point of view that I can see how that would obscure the labor that goes into it.
People don’t realize that I can write for other people as well. A lot of performers are really great at writing for themselves, but when it comes to writing a spec script forOn your recent specialone of the things that is the most technically accomplished is the way you perform against yourself. One of the sketches is a kind of parody of noir film. You are playing a character, and then you’re also playing that character’s assistant, and we get to hear you performing against yourself.
When I’m performing a scene that I am playing all the parts in, I feel it and hear it like a song. I know the emotional arc, I know the journey of the pieces, so I can do them sort of piecemeal.Yeah, I’m so familiar with the melody that I can hear it in my head when I’m harmonizing.It really is sitcoms.
But it’s funny that you would describe that sensibility as gay, when the sitcom is such a tool of nuclear family convention. I think that’s where the gay comes into it. It’s like my gay eye picked up that something was off about what I was seeing. And then performing it the way that I see it reflects the absurdity of the sitcom that I’m referencing.
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