Nicholas Stoller
Nicholas Stoller
Nicholas Stolleris an English–American filmmaker. He is known mainly for directing the 2008 comedy Forgetting Sarah Marshall, its 2010 spin-off/sequel, Get Him to the Greek, and co-writing and executive producing The Muppets and Muppets Most Wanted...
NationalityEnglish
ProfessionDirector
Date of Birth19 March 1976
direct
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.
praying
As a comedy writer, I'm always praying for the day I can tell a self-aware/break-the-fourth-wall style of joke.
writing thinking direct
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.
parent england muppet
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.
writing guy greek
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.
makeup thinking eight
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.
hipster kids parent
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.
breathing editors editing
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.
looks kind sometimes
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.
elude-you laughing small-moments
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.
digital
I like digital because you can shoot for longer.
trying comedy rich
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.
editing watches want
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."
editors giving perspective
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.