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Title : "No one was better at stringing out a joke between its setup and its punch line. The purest instance of the skill might be his famous 'moth' routine..."
link : "No one was better at stringing out a joke between its setup and its punch line. The purest instance of the skill might be his famous 'moth' routine..."
"No one was better at stringing out a joke between its setup and its punch line. The purest instance of the skill might be his famous 'moth' routine..."
"... in which he took a lame stock joke ('A moth goes into a podiatrist’s office . . .') and, by delivery alone, built a three-minute meta-gag on top of it, working his audience all the way. We weren’t far into our interview when I realized I had made the rookie mistake of taking Macdonald’s deadbeat persona as his real world view. It was and wasn’t. Early on, he charmed me by noting, in an offhand way, that he’d needed glasses all his life but, after losing his first childhood pairs, stopped bothering. ('I guess if I put on glasses now everything would be high-def,' he said—the description of normal human vision as a decadent TV feature being the Macdonaldian turn.) But I was caught off guard by how sensitive he was to creative work generally: he was a serious and studious reader, especially of the Russians, keen to get into the weeds with me about Tolstoy....."From "Norm Macdonald Was the Real Thing/His persona was droll, but he cared seriously, even ebulliently, about what comedy could be" by Nathan Heller (The New Yorker).
Here's the moth thing (and notice the Tolstoy influence):
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"... in which he took a lame stock joke ('A moth goes into a podiatrist’s office . . .') and, by delivery alone, built a three-minute meta-gag on top of it, working his audience all the way. We weren’t far into our interview when I realized I had made the rookie mistake of taking Macdonald’s deadbeat persona as his real world view. It was and wasn’t. Early on, he charmed me by noting, in an offhand way, that he’d needed glasses all his life but, after losing his first childhood pairs, stopped bothering. ('I guess if I put on glasses now everything would be high-def,' he said—the description of normal human vision as a decadent TV feature being the Macdonaldian turn.) But I was caught off guard by how sensitive he was to creative work generally: he was a serious and studious reader, especially of the Russians, keen to get into the weeds with me about Tolstoy....."
From "Norm Macdonald Was the Real Thing/His persona was droll, but he cared seriously, even ebulliently, about what comedy could be" by Nathan Heller (The New Yorker).
From "Norm Macdonald Was the Real Thing/His persona was droll, but he cared seriously, even ebulliently, about what comedy could be" by Nathan Heller (The New Yorker).
Here's the moth thing (and notice the Tolstoy influence):
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