For the last seven years Jay Arthur, a master practitioner in Neuro-Linguistic Programming (NLP) has been studying and reverse engineering how comedians think. With his co-author Karyn Ruth White, a standup comedian and professional speaker, they have refined the process and come up with the essential skills of how to think like a comedian.
In Your Seventh Sense you'll find a step-by-step guide to creating and developing humor. There are four main steps:
1. Prospecting for Humor: First learn to develop your comedy radar.
2. Mining the Humor - The next step involves creative lateral thinking. Comedians ask themselves: "What's this like?" "How are women like cars?" "How is dating! like a laundromat?" Learning comedy is a great way to develop your creativity.
3. Refining the Humor - Next, comedians distill their thinking down into the traditional joke format: setup-punchline-punchword. "Take my wife please!"
4. Presenting Humor: Finally, determine what point of view, attitude, and character would be best for this particular joke. Are you mad, sad, or glad? Is it hard, weird, scary, or stupid? What do you do when you bomb?
This book also has detailed examples from actual workshops about how to develop a joke from start to finish. There is even a chapter about how to add humor to any speech; it's ideal for corporate executives or anyone who speaks to groups. Anyone can do it. It is up to you to decide how far you will take your comedy career...Maybe just to a backyard barbecue or all the way to a comedy club.DVD Features:
Biographies
Interactive Menus
Interviews
Other:Audience Q&A
When Se! infeld wrapped up its ninth and final season in the spring! of 1998 , the popular show's namesake and cocreator decided to offer a symbolic gesture to his fans. Taped for HBO in August 1998, on the final date of Jerry Seinfeld's tour appearances at New York City's Broadhurst Theater, I'm Telling You for the Last Time presents the standup comedian's so-called "final" standup, or at least his final tour with the standup material that made him famous. The video opens with a great prologue in which Seinfeld's old material is literally laid to rest, with many of Seinfeld's comedy colleagues in attendance at the "funeral." (Jay Leno is there, but David Letterman is conspicuously absent, and while it's a bit self-congratulatory to show Seinfeld's fellow comedians fighting like vultures over his abandoned jokes, it's worth it just to see Garry Shandling pilfering from the catering table like a homeless intruder.)
Whether he's talking about airline flights, cab drivers, or memories of Halloween and an ill-fitting Superman costume, Seinfeld! 's observational humor is as timeless and sharp as the day he first performed it. Even the most familiar routines (such as the one about pharmacists with a superiority complex) are like old friends who still haven't overstayed their welcome. Seinfeld's delivery is polished to a shine--he's a consummate professional--and an impromptu Q&A with his appreciative audience demonstrates that he's equally adept with a fast and witty comeback. This performance certainly wouldn't be the last we'd see of Jerry Seinfeld, but from the perspective of phenomenal fame and fortune, it's a fitting farewell to the classic "bits" that took him to the top. --Jeff Shannon
Luce would die for Daniel.
And she has. Over and over again. Throughout time, Luce and Daniel have found each other, only to be painfully torn apart: Luce dead, Daniel left broken and alone. But perhaps it doesn’t need to be that way. . . .
Luce is certain that somethingâ€"or someoneâ€"in a past life can help her in her present one. So she begins the most important journey of this lifetime . . . going back eternities to witness firsthand her romances with Daniel . . . and finally unlock the key to making their love last.
Cam and the legions of angels and Outc! asts are desperate to catch Luce, but none are as frantic as D! aniel. H e chases Luce through their shared pasts, terrified of what might happen if she rewrites history.
Because their romance for the ages could go up in flames . . . forever.
Sweeping across centuries, Passion is the third novel in the unforgettably epic Fallen series.
THE THRILLS KEEP COMING. THE PLOT KEEPS TWISTING. THE SUSPENSEKEEPS GROWING. HOMICIDE DETECTIVE JOHN HOBBES HUNTS A SATANIC FORCE THAT SHIFTS FROM ONE HUMAN HOST TO ANOTHER IN THIS TAUT,TERRIFIC SUPERNATURAL THRILLER.Although it received mixed reactions from critics and audiences alike when released in 1998, this supernatural thriller benefits from a sustained atmosphere of anticipation and dread, and its combination of detective mystery and demonic mischief is handled with ample style and intelligence. Under the direction of Gregory Hoblit (who fared better with Primal Fear), Denzel Washington plays detective John Hobbes, who witnesses the gas-chamber execution of a s! erial killer (Elias Koteas). But when another series of murders begins, Hobbes suspects that the killer's evil spirit has survived and is possessing the bodies of others to do its evil bidding. Even Hobbes's trusted partner (John Goodman) thinks the detective is losing his grip on reality, but the dire warnings of a noted linguist (Embeth Davidtz) confirm Hobbes's far-out theory, and his case intensifies toward a fateful showdown. Although its idea is better than its execution, and the story's film noir ambitions are never fully accomplished, this slickly directed thriller has some genuinely effective moments in which evil forces are entwined into the fabric of everyday reality. Among the highlights is a memorable scene in which Detective Hobbes must track the killer as the evil spirit is transferred between many people via physical contact. Even if the film is ultimately less than the sum of its parts, it's an intriguing hybrid that resides in the same cinematic neighborho! od as Seven and The Silence of the Lambs with a ! cast tha t also includes Donald Sutherland and James Gandolfini. --Jeff ShannonThere's something achingly familiar about Daniel Grigori.
Amazon.com: Luce and Daniel's story is very romantic. What inspired you to write a love story between a human and an angel?
Lauren Kate: I’ve been writing love stories for as long as I’ve been writing. To me, the most complicated romances make the most interesting narratives, so I’m always looking for new obstacles to throw in my lovers’ paths. When I was getting my masters degree in fiction, I was studying biblical narratives and came across a line in Genesis (6:1-4), which describes a group of angels who fell in love with mortal women. Putting this reference together with a mention in Isaiah and another in Palsm 82, biblical scholars conclude that these angels were actually cast out of Heaven for their lust. Wh! ich means--you could say--that these angels chose love over Heaven. I found this to be an endlessly interesting set up for an incredibly complicated romance. I started thinking about what kind of mortal girl it would take to attract an angel’s attention. And what it would be like for her to find herself in this position. What kind of baggage would an angel have? What would her very over-protective parents think? From there, this whole world unfurled in my head with fallen angels, demons, reincarnation, and the war between good and evil all battling for a piece of the action.
Amazon.com: We've been wondering about the "mechanics" of Luce and Daniel's story (for lack of a better word). Does Daniel age? Or does he stay seventeen forever (while Luce grows older)? And with that said, what does he do while Luce is growing up in each of her lives? What was he doing before he met Luce in this life?
Kate: What’s important about angels is not th! eir bodies but their souls. In their purest forms, they’re a! ctually genderless, but for my story to work--for the angels to come down to earth and interact with mortals--they all assume human bodies and attach themselves to human genders. Daniel is eternal and will live on forever, but the body Luce sees him in (gorgeous as it is) is really just a shell for the soul that she loves. There’s not the feeling of a ticking clock in the background as there might be with, say, a vampire story. Right now I’m writing Passion, the prequel where we’ll see Luce and Daniel in a dozen other lifetimes, so I’m exploring a lot of these mechanics (a great word for it, by the way) between the angel’s bodies and souls.
The way Daniel occupies himself in between Luces varies from life to life. His soul is least at rest just after she’s died, before she’s incarnated into another life--when she is “in between.†During her lives, even when he isn’t with her, he is always aware of her age, what she’s going through, how she! ’s doing. He has a sort of internal Lucinda clock. Sometimes he meets her as a child, sometimes he tries to stay away from her as long as possible, to give her as much of a life outside of him as he can. In the years leading up to the life where they meet at Sword and Cross, Daniel was living on Skid Row in Los Angeles.
Amazon.com: Fallen and Torment talk a lot about the history of Heaven and Hell, the different classes of Angels, and the rules of human-angel interaction. Obviously these themes are explored heavily in religious texts, but were there other sources that informed your story?
Kate:It’s interesting because there is actually very little in the Bible about angels--a few mentions in the Old Testament, a few more in the new. And the mentions that we do have are often vague or contradictory. Most of what we think of when we think of angels today comes from secular or cultural contexts. Seventy-five percent of it! might have come from Milton alone. I worked with a biblical s! cholar a t UC Davis who pointed me toward some apocryphal texts (books written during the same as the bible, but which were not included in the book when the canon was closed). Books like Enoch 1-3 and the Dead Sea Scrolls are chock full of angel references. I also read a trilogy on Satan and a book called the A History of Heaven both by Jeffrey Burton Russell, as well as a great book by Harold Bloom called Omens of the Millennium.
I got so engrossed in all of the research I did for Fallen that I had a hard time knowing when to stop reading and when to start writing. I had to realize that it was okay for me to pick and choose things from various accounts, to look past contradictions, and to come up with my own angel mythology. That’s what Milton did, after all!
Amazon.com: What is Cam's deal? We're not convinced that he's totally evil--in Fallen, he seemed to be trying to protect Luce by keeping her away from Daniel! , and in Torment he and Daniel reach a mysterious truce, again to protect Luce. Will we be seeing more of him in book 3?
Kate:Speaking of Milton, isn’t it fascinating that Satan is the most interesting character in Paradise Lost? From the start of this series, I have wanted to test the boundaries between what is “good†and what is “evil.†How and when do those terms get applied? Are they black and white or is there some flexibility along the spectrum? Obviously it’s much more interesting if Heaven and Hell/good and evil work as binaries: opposites that orbit each other and are pulled toward each other with a mutual gravitation. We see that at the end of Fallen and in Torment with Daniel and Cam’s truce. The idea that good and evil rely on each other is as old as the oldest dualistic religion, Zoroastrianism (on whose shoulders both Judaism and Christianity stood).
So yes, there is more to Cam tha! n pure evil! (Especially since his character--the charming sid! e of his character anyway--was based loosely on my husband.) We’ll see a lot of him in Passion and will even begin to understand how he got where he is today.
Amazon.com: Can you tell us a little bit about book 3? Will we find out more about Luce and Daniel's past lives?
Kate:Passion is going to be the craziest, coolest book I’ve ever written! I’m halfway through the first draft right now and it is so rewarding to finally get to delve into Luce and Daniel’s past lives together. The history these two share is the stuff of epics, and I am learning so many new things about them as I write. For any reader out there feeling tortured by the teasing hints of so many thrilling past lives: Passion is your book! Everything--well, almost everything--will be illuminated.
The Fallen quartet, now published for the first time in two action-packed bind-ups, chronicles an epic struggle, where the fate of the world rests on the outcome of one teen’s monumental quest. The Fallen 1
The puppeteer's working as a file clerk on the seventh-and-a-half floor of a Manhattan office building; this idea alone might serve as the comedic basis for an entire film, but Jonze and Kaufman are just getting started. Add a devious coworker (Catherine Keener), Cusack's dowdy wife (a barely recognizable Cameron Diaz), and a business scheme to capitalize on the thrill of being John Malkovich, and you've got a movie that just gets crazier as it plays by its own outrageous rules. Malkovich himself is the film's pièce de résistance, riffing on his own persona with obvious delight and--when he enters his own brain via the portal--appearing with multiple versions of himself in a tour-de-force use of digital trickery. Does it add up to much? Not really. But for 112 liberating minutes, Being John Malkovich is a wild place to visit. --Jeff ShannonWhile too many movies suffer the fate of creative b! ankruptcy, "Being John Malkovich" is a refreshing study in con! trast, s o bracingly original that you'll want to send director Spike Jonze and screenwriter Charlie Kaufman a thank-you note for restoring your faith in the enchantment of film. Even if it ultimately serves little purpose beyond the thrill of comedic invention, this demented romance is gloriously entertaining, spilling over with ideas that tickle the brain and even touch the heart. That's to be expected in a movie that dares to ponder the existential dilemma of a forlorn puppeteer (John Cusack) who discovers a metaphysical portal into the brain of actor John Malkovich.\n The puppeteer's working as a file clerk on the seventh-and-a-half floor of a Manhattan office building; this idea alone might serve as the comedic basis for an entire film, but Jonze and Kaufman are just getting started. Add a devious coworker (Catherine Keener), Cusack's dowdy wife (a barely recognizable Cameron Diaz), and a business scheme to capitalize on the thrill of being John Malkovich, and you'v! e got a movie that just gets crazier as it plays by its own outrageous rules. Malkovich himself is the film's pi?®ce de r?©sistance, riffing on his own persona with obvious delight and--when he enters his own brain via the portal--appearing with multiple versions of himself in a tour-de-force use of digital trickery. Does it add up to much? Not really. But for 112 liberating minutes, "Being John Malkovich" is a wild place to visit. "--Jeff Shannon"While too many movies suffer the fate of creative bankruptcy,Being John Malkovich is a refreshing study in contrast, so bracingly original that you'll want to send director Spike Jonze and screenwriter Charlie Kaufman a thank-you note for restoring your faith in the enchantment of film. Even if it ultimately serves little purpose beyond the thrill of comedic invention, this demented romance is gloriously entertaining, spilling over with ideas that tickle the brain and even touch the heart. That's to be expected in ! a movie that dares to ponder the existential dilemma of a forl! orn pupp eteer (John Cusack) who discovers a metaphysical portal into the brain of actor John Malkovich.
The puppeteer's working as a file clerk on the seventh-and-a-half floor of a Manhattan office building; this idea alone might serve as the comedic basis for an entire film, but Jonze and Kaufman are just getting started. Add a devious coworker (Catherine Keener), Cusack's dowdy wife (a barely recognizable Cameron Diaz), and a business scheme to capitalize on the thrill of being John Malkovich, and you've got a movie that just gets crazier as it plays by its own outrageous rules. Malkovich himself is the film's pièce de résistance, riffing on his own persona with obvious delight and--when he enters his own brain via the portal--appearing with multiple versions of himself in a tour-de-force use of digital trickery. Does it add up to much? Not really. But for 112 liberating minutes, Being John Malkovich is a wild place to visit. --Jeff Shannon
Beyond Enchanted
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