the man who makes the world’s funniest people even funnier

4/20/2015 TheManWhoMakestheWorldsFunniestPeopleEvenFunnierNYTimes.com

http://www.nytimes.com/2015/04/19/magazine/themanwhomakestheworldsfunniestpeopleevenfunnier.html?ref=magazine 1/14

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MelissaMcCarthy,herhandstiedbehindherback,writhedonthedingybasementfloorofanabandonedpowerplantinBudapestgrunting,shriekingand,despiteherbestefforts,laughing.Letmetrythatagain,shesaid,attemptingastraightface.McCarthywasshootingScene114inSpy,anactioncomedythatwas,inApril2014,partwaythroughitsfirstweekofproduction.AfewfeetawaywasthedirectorPaulFeig,wholikestofeedactorsnewlinesofdialoguefromjustoutsidetheframe.FeiggaveMcCarthyabreakthroughensembleroleinBridesmaids(2011)andlatercastheroppositeSandraBullockinTheHeat(2013).InSpy,McCarthyisthestar,playinganunlikelysecretagentcalledSusanCooper.InScene114,Susanhasbeenapprehendedanddumpedinthebasementalongsideanothercaptive,namedAldoadisconcertinglylibidinalallywhokeepshittingonSusandespitetheirdirecircumstances.Thescenebuildstowardsomeexquisitelyclumsyphysicalcomedy,asSusancommandsAldotohelpuntieher,eventhoughheisalsoinknots,inauguratingagrabbyballetandcreatingnumerousopportunitiesforAldotosaysleazythings.

Action,Feigcalledout,beginningtheumpteenthtakeoftheuntyingsequence.Aldo,playedbyPeterSerafinowicz,shimmiedupbehindSusanand,pressinghisboundhandsenthusiasticallyagainstherbackside,gottowork.Theknotandyourhandsareabouttoentermycolon!McCarthy,asSusan,protested.Feig,breakingin,suggestedaresponseforSerafinowicz:Trustme,ifIwasthatclosetoyourcolon,youwouldbescreaminginecstasy.

Some72hourslaterand6,200milesaway,theeditorBrentWhitewasataproductionfacilityinBurbank,Calif.,guffawingashewatchedfootageofthisexchangeona22inchreferencemonitor.Whiteisnotaparticularlyfunnyperson,buthehasoneofHollywoodsmostfinelyattuned,andhighlyvalued,sensesofhumor.Hisfirstcomedyjobcamein2000,cuttingthetreasuredbutshortlivedNBCsitcomFreaksandGeeks,whichFeigcreated.WhitescareercoincideswiththeriseofimprovisationasatechniquecentraltoHollywoodcomedymaking,andhisadeptnessatgivingshapeandrhythmtowildexcessesofoffthecuffmaterialhasputhimatthefrontofhisfield.Whitesrsumencompassessomeofthebestlovedfeaturecomediesofthe



lastdecade,startingwithAnchorman,in2004,whichhecutforthedirectorAdamMcKay,whosubsequentlyhiredWhitetoeditTalladegaNights,StepBrothers,TheOtherGuysandAnchorman2.Mostofthesefilms,likeFreaksandGeeks,wereproducedbyJuddApatow,who,inhiscapacityasadirector,hashiredWhitetoassemblenearlyallofhisfeatures:The40YearOldVirgin,KnockedUp,FunnyPeopleandThisIs40.ApatowcouldhaveusedWhiteforhisforthcomingcomedy,Trainwreck,butFeig,wholasthiredWhitetocutTheHeat,sweptinfirstandlockedhimupforSpy.AsFeigputit,JuddandIfoughtoverwhodgetBrent,andIwon.

Whiteworeglasses,atanplaidshirtandloosefittingbluejeansfauxsnakeskintrimonhisbeatupConverseAllStarsgavehisensembleitslone,discordantelementofflash.ManipulatinganeditingprogramcalledAvid,heskippedbackwardfromthesequenceinwhichAldountiesSusantoanearliersequenceinthesamescene,inwhichAldopraisesherabilities.Itwasanimportantpointinthedevelopmentofhercharacter,andonethatthefilmplayedmomentarilyforitsinspirationalqualitybeforetakingafunnyturnintofatalism.Asscripted,thepeptalkendslikeso:

SUSAN:Ididdoagoodjob,didntI?ALDO:Verygood,yes.Youwillgetthemnexttime.Pause.Unlesswe

diehere.Thenyouwillnot.Serafinowiczdeliveredthiskickerwell,blasashepulledtherugoutfrom

underthefeelgoodmoment.ButFeig,sensingabiggerlaughafoot,settheactorsloosetoexplore.Serafinowicztriedyetanothertonalswerve,thistimefromthemacabretothepervy:Unlesswediehere.Inwhichcaseitwouldbemyverygreathonortobethelastmantoejaculateonyou.Oversubsequenttakes,hemodifiedthiscomeon:...itwouldbemyverygreathonortodieinsideofyou...itwouldbemygreathonortobethelastmantotouchyourbosomandsoon.

Whitesatforwardandgottowork.Icutrightbehindthedirector,heexplained.ThedayaftertheystartshootingisthedayIstartediting.

Whitesartisticchallengebeginsasanorganizationalchallenge.Ashewatchedadozenorsotakes,rootingfortruffles,heconsultedadigitalcopyof



thescriptthatwasopenononeofhiscomputerscreens.ImmediatelytotherightofAldoslineswereseveralbluedots,eachoneindicatinganalternatereadingthatSerafinowiczhadgiven.BeforefootagemakesitswaytoWhitesdesk,twoassistantswatchitall,transcribingeverylastbitofimprovintothisdigitalscript.ThismeantthatWhitecouldsimplyclickonabluedotandsummonupthecorrespondingfootageofSerafinowiczvamping.

ImprovisationhasinflectedfeaturecomedyasfarbackasKeystoneStudios,andithasbeenagenrestaplesincethelate1970s,whenimprovtroupeslikeSecondCityandtheGroundlingsbecameunofficialHollywoodfarmteams:ThinkofJohnBelushispontaneouslyimpersonatingapimpleinJohnLandissAnimalHouseorBillMurray,inHaroldRamissCaddyshack,makinguphisCinderellastorymonologueashegoes.ButitwastheinnovationofcontemporarydirectorslikeApatowandMcKay,buildingontheworkofforebearslikeRamis,BarryLevinsonandChristopherGuest,topushthingsfurther,shootinghoursandhoursoffootageeachdayandencouragingentireensemblesasopposedtojustBelushiesquelonewolvestomeanderoffpencil,keepingthecamerasrollingandseeingwhathappens.Ivealwaysbeenabigproponentofgettingasmanyoptionsasyoucanget,Apatowtoldme,explainingthatthisinclinationstemmedfromhisexperienceasacocreatorofTheBenStillerShow,intheearly90s:Bendidanenormousamountofimprovisingeverydayshootingasketch,thendoinganother30minutesofstuffhecouldhavesaid.

WhenApatowandMcKaybegandirectingmovies,theyusedatechniquethatothershaveadopted:Theyshootasceneonceortwiceaswritten,thensubjectittoanumberofimprovisedvariationsinwhichtheactorsdeliverlinesofalternatedialogue(alts)thateithertheydeviseorthedirectorsupplies.Withthiswayofworking,scriptsbecomeradicallyprovisional,andburstsofimprovbecomemuchmorethanroadsideattractionsaswasthecasein,say,GoodMorning,Vietnam,wheremanicmontagesofRobinWilliamsriffingrepeatedlygroundthestorytoahalt.MikeSale,aneditorwhosecreditsincludeGetHard,Bridesmaids,NakedGun33andTommyBoy,saysthatimprovwasnowherenearaspervasiveearlyinhis



careerasitisnow:Themodelwasgetareallytightscriptandhopeyouhadenoughjokesthatworkedfor90minutes.Today,directorswhoembracethealtheavyapproachincludeNicholasStoller(ForgettingSarahMarshall,Neighbors),RawsonMarshallThurber(Dodgeball,WeretheMillers),PhilLordandChristopherMiller(theJumpStreetfranchise)andonandon.

WhitebegandevelopinghisparticularapproachbackonFreaksandGeeks,whichfeaturedagoodamountofunscriptedplayfromtheactors,albeitlessthanthefilmshehassincecut.Hepointedatthebluedotsonhisscreen,which,thankstohisassistantslabor,hesaid,indicatedanythingthatsuniqueorthesameintheperformances.Gesturingatanotherwindow,headded,Herearealltheoptions:offcamera,oncamera,twoshot,oneshot,wideshot,ontheirback.Icangothroughitall.Imnotscanningthroughatakebackwardandforward,lookingforsomething.Hesheardofothereditorsimplementingmethodssimilartohis,andhesaidthatcolleaguessometimescallhimfortips,buthebelievesthathiswayofworkingremainsrare.Earlylastyeartheeditorsof22JumpStreet,KeithBrachmannandDavidRennie,foundthemselvesburiedbeneathreamsofimprovisedfootageandrealizedthattheycouldntcompletearoughassemblyofthefilminareasonabletime,Brachmanntoldme.SotheybroughtonWhiteasacleanupman,andfor10weekshehelpedthemtodigout,andburnish,laughs.IfLordandMillerhadhadhisbackendinfrastructureinplaceon22JumpStreet,Whitesuggested,theymostlikelywouldnthaveneededhim.

TheriseofHollywoodimprovwashelpedalongbytheriseofhighqualitydigitalmemory,whichisfarcheapertoburnthroughthanfilmandwhichcansustainasingletakeof25minutesorlonger.(Theoncestandardfilmcameramagazinewouldlast11.)ForAnchorman,WhiteworkedondigitaltransfersoftheactualfilmMcKayshot,whichallowedWhitetoglidethroughfootagetoassembleadigitalfinalcut.(Assistants,followinghislead,wouldthenmaketheliteralcutstothefilmprint.)Bythemid2000s,comedydirectorswithnewdigitalcamerasliketheAlexaandtheRedavoidedfilmaltogether,becomingevenmorelimberonset.Brachmann,oneofthelead22JumpStreeteditors,whoalsoworkedonBeingJohnMalkovichandtwoNancy



Meyerscomedies,says:Backwhenweshotonfilm,itwasanactorsaying,Letmetryoneline,andthedirectorsaying,Goahead.Anhourwasatypicalgooddaysworthofmaterial.Whereasnowitcanbeuptosixhours,becausetheresthisabilitytoshootenormousvolumesofmaterialandshootitmorequickly.ZeneBaker,theeditorofThisIstheEndandTheInterview,said,Thesedays,Illget20hoursthatIhavetocutdownintoathreeminutescene.

Improvisationcreatesspontaneousmagic,butbydefinitionitsslapdashandunrefined.AsMikeMyersoncerecalledthecomedianDaveFoleysaying,Mostimprovcoulddowitharewrite.Inthissense,BrentWhiteisamasterrewriter,givingmorefelicitousformtoWillFerrellsshaggyriffs,SteveCarellsinspirednonsequitursandMelissaMcCarthysprofanerunshemanagestomakethefunniestpeopleontheplanetfunnier.Hehastheabilitytowadeintounstructuredmaterialundaunted,tonotgetlostworryingaboutthetechnicalchallengesandjusttapintotherhythmofthescene,Brachmannsaid.PaulFeigcallsWhitethemosttalentededitorIveworkedwith.MikeSaleisevenmoreeffusive:Idlovetohavehiscareer,hesaid.Brentsagenius.

Stationedathisconsole,WhitecantweakandamplifylaughsmuchthewayamusicproducerusesAutoTunetoalterandimprovevocals.Avidallowsusthetimetotryoutabunchofdifferentideas,becauseyoucandoitsoquickly,hesaid.Itallowsustofinessethetimingofthejokeandthecontentofthejoke,toadjusttherhythmandthesize,inawaythathasactuallymademoviesfunnier.

Illustratingthispoint,hedialedupthefootageinwhichAldomadehisremarkaboutSusansbosom,thenapologizedforhisludicrousflirtations:Itsacompulsion!Iwilltrytostop.

Juststoptalking.Stoptalking,andIbetthatwouldhelpit,Susanreplied.Afterabeat,McCarthymovedtothenextplotpoint:Youknowwhat?Imnotgoingdownlikethis.Ineedyoutountieme.

Bosomwhat?Aldoblurted.WhitelaughedatthisunscriptedburstofTourettesstylelecherousness.

Theexchangewasrough,butpromising.IllcutaversionofthescenewhereI



usebosomasathread,hesaid,tappingathiskeyboardandsummoningforthallthosetakesinwhichSerafinowiczhadusedtheword.AtthebottomofWhitesAvidinterfacewasajaggedwaveform,representingthescenesaudio.Whitesaysthatevenwiththesoundoff,hecanintuitwhetherasceneisfunnybysimplylookingatthiswaveform.IfIseealongstretch,Iwanttotightenitup,hesaid.ThatsliterallythewayIlookatthematerialespeciallywithWillFerrell.Therearemomentswherehesthinkingwhatthejokeis,thenheknowswhatthejokeis,andthenhessayingthejoke.Makingtheleapfromonetotwotothree.WhatImdoingistighteningupthatleapforhim:improvingtherhythm,boomboomboom.

Theimpulsetowardultratightpacing,abettedbytechnology,hasresultedinawaveofcomedicperformancesthatunfoldatalmostsuperhumanregisters,evenas,paradoxically,theirimprovisatoryaspectscreateanairoflaidbacknaturalism.ZeneBaker,theThisIstheEndeditor,says,Justasanexample,gobackandwatchHappyGilmore,the1996AdamSandlervehicle.Itsstillhilarious,butIbetbytodaysstandardsitwillfeelslowtoyou.Thelaughperminuteratioiscertainlydifferent.DavidRennie,whosersumincludesHomeAlone3andOfficeSpace,saysthatnotlongagohewaswatchingaclassiccomedy,from1978,and,justforfun,recutascene.Itighteneditup,tookoutafewframesandfeltthecomictimingwasbetter,hesaid.Inourtimeframetoday,itdoesnttakeaslongasitusedtotoprocessagag.(Rennieaskedmenottonamethefilm,whichisexalted:Illsoundsopretentious.)

Thismovementtowardagreaterdensityoflaughsisperceptiblenotonlyacrossdecadesbutacrossthelastfewyears.DuringthefamoussayinggracescenethatBrentWhitecutforTalladegaNights(2006),actorsfirelooksandlinesacrossadinnertablewithpleasantlydisorientingrapidity.ThepacingisevenmoreheightenedinThisIstheEnd(2013),whenSethRogenandJayBaruchel,twoimprovninjas,debatethevirtuesofaglutenfreediet:ZeneBakerfillsthescreenwithquick,alternatingcloseupsasRogenslinesabutandevenoverlapBaruchels.Iwaswatchingthedailies,absorbinghowtheytalktoeachother,andtheyhaveagoodrapport,buttheiractualrhythmwasa



bitslower,Bakersaid.Ilikenaturalsoundingbutfastpaceddialogue,soIdecided,Thesecharactersareoldfriends,theycanfinisheachotherssentences,andIcanhavefunwiththis.Theresultiscrosstalkfardenserthantheperformersmusteredonset,andtheeffectisnotonlytoconveythecharactersintimacybutalsotokeeptheaudiencebreathlesslybehindthebeat,barelyprocessingonelaughbeforethenextarrivesasteroidalupdate,inaway,onthescrewballreparteeofHowardHawks,whofamouslypushedhisactorstospeakinrapid,overlappingdialogueinHisGirlFriday(1940).

Othermidcenturydirectors,suchasPrestonSturgesandBillyWilder,shottalentedactorsdeliveringscriptedlineswithoutalotofcuts:tightperformancescapturedwithinasinglemastershot.Today,withcertainexceptionsWoodyAllenmostprominentlycomedydirectorstendtoshootmanytakesfrommanyangles,providingthemselveswithanabundanceoffootage,knownascoverage,thattheywillsortthroughlateron,inediting.Theyoftengivenotesaboutfavoredtakestotheirscriptsupervisors,whositbesidethemonsetandpassthesealongtotheeditor.Whitesbossesarenodifferent,althoughtheirparticularstrategiescanbenovel:Juddhasusedastenographeronset,Whitesays,andhellhighlightthingsintheirtranscriptthathelikes.

Intheabsenceofnotes,Whitesinstinctisthatformshouldfollowfunny.Illsay,Thatsfunnierthanthis,thatlookbetweentheactorsisbetter,theirinteractionisbetterherethanthere,heexplained.ThatshowIdecidewhetherIllusethecloseuporthetwoshot.Havingidentifiedthefunniestjokeinarun,hemakesithisNorthStar.IreverseengineerthescenetomakesureIcangettothejoke.Thenitbecomesbridgebuilding.HowdoIgettothisthingfromthisotherthingIlike?Stitchingtogetherconnectivetissuebetweenkeepers,Whitewillsendhisdirectormultipleoptions,thenrecutthesceneuponreceivingfeedback.Amoviebeginstotakeshapeintiny,tentativeincrements.Thesedirectorsdontwantoneversionofthescene,saidMelissaBretherton,anApatowcampeditorand,onSpy,Whitesrighthand.Theywantsix.WhitenotedthatApatow,whenshootingafilm,willsometimeshavesomethinghewantstosay,buthedoesntknowexactlywhereitgoesin



themovie.Doesitservicetheend?Doesitgoearly?Sohellshootthesameexactscene,thesameexchange,withtheactorsindifferentwardrobes,sothatIcanslotitinatdifferentpoints.

WhitesculptedhisbosomoptionforScene114.Theresathingthathappenswhenactorsvamp,whichisthattheyrepeatthemselves,hesaid.SoifIcanpullouttherepetitions,Icanstrengthentheperformance.Hetoggledbetweentakesappraisingly.CertainonesFeighadmarkedwithaVG,forverygood.Otherswereunusable:SerafinowiczcrackedupMcCarthysheadwasturnedthewrongway.WhitelikedaparticulartakeexceptforthewaythatMcCarthysaidstoptalkingtwiceinresponsetoAldoscompulsionapology,sohesimplydeletedthephrasessecondappearance,cuttingtoareactionshotfromSerafinowicztohidetheexcision.Thingsstillfeltslow,soWhitetriedseveralconfigurationsofthedialogue,snippingandrearrangingwordslikeamanuscripteditorwitharedpen,thenfinallyscrappedthesecondhalfofAldosapologyoutright,alongwiththefirsthalfofMcCarthysreply.Nowthecharacterstalked,amusingly,rightpasteachother:

ALDO:Itsacompulsion!SUSAN(disgustedly):Youknowwhat,Imnotgoingdownlikethis.Just

untieme!ALDO:Bosomwhat?SeehowIpulledthosetogether?Whitesaidhappily.Compulsionto

bosom,thatstheconnector.Workingmicroscopically,hedtransformedatossedoffadlibintoasolid,streamlinedlaugh.Heleanedbackandlettheexchangeplaythroughagain:Boomboomboom.

WhiteisaMormonfromOrem,Utah,downthecanyonfromSundance,hesays.AsanundergraduateatBrighamYoungUniversity,hehadscreenwritingambitions,withtastesthatleanedtowarddramaticmaterialheacknowledgesthathisfaithsquaresimprobablywithhiscareerinraunchycomedies.Imtheonewhowentofftojointhecircus,Whitesays.AsaMormon,yourenotsupposedtoseeRratedmovies.AndwhenIwasatB.Y.U.,itwasconstantlytalkedabout:Howdoyoumakemoviesinthisfaith?WhenWhitewascuttingThe40YearOldVirginafilmheinterpretsas



beingaboutfamilyvalues:monogamy,chastityheamendedthetitleforhiskidsbenefit.ItoldthemitwascalledThe40YearOld,hesays.

WhenWhitewas24,hegotajobatSundanceInstitute,aproductionsidesiblingofthefilmfestival,wherehehelpedcutworkshoppedscenesfrompotentialindiedramas.Whilethere,heappliedtoColumbiaasascreenwritingstudenttheschoolinitiallyrejectedhim,thenwaitlistedhim,thenfinallyacceptedhim.Whitesaysthathisbackgroundindramahelpshimtohomeinontheemotionalrealityofthesceneshecutstoday,evenifthosescenesincludepreposterouslinesaboutbosomsandcolons:TheearlythingsIdidwerereallyseriousanddire,andwhatwasgreataboutthatwasthatitwasalwaysabouttherealityofthesituation.ThatsoneofthethingsIbringtothetabletheideathatthejokeonlylivesifitlivesinarealenvironment,arealsituation.

OneofWhitesmentorsatSundancewasDedeAllen,whocutDogDayAfternoonandBonnieandClyde.AlleninstilledinWhiteanunfussyapproach.Yourunintoeditorswhosay,Icantmakethatcut,theglassofwaterisinthewrongplaceinthattake,Whitesaid.ButIllsay:Whocares?Theperformanceisstrongestinthatcut!Whywouldyoumatchtheglassandtakeonthatworseperformance?MatchingisforsissiesthatsoneofthethingsDedewouldsayallthetime.Whitearguesthatasaudiencemembers,welookatactorseyesmostofthetime,soaslongastheyreengaging,youregoingtobeconnectedtothatperson,andwhateverhappenselsewhereintheframeislessimportant.Increasingly,Whiteisabletohavehiscakeandeatittoo,payingdigitaleffectshousestoswapoutanunwantedportionofaframewithonemoredesirable,say,orsuperimposinganactorsheadatthebottomtofabricatevisualcontinuitybetweenshots.

AnopportunitytoworkwithAllen,cuttingRobertRedfordsTheMilagroBeanfieldWar(1988),aroseatthesametimethatWhitewasmullingColumbiasacceptanceletter.Heconsultedthedean,whotoldWhitethatexperienceonaHollywoodmoviewastoovaluabletopassup.SoItookthejob,Whitesays.HestayedinHollywood,workinghiswayuptheranks,occasionallyreturningtoSundance.In1999,hesawatapeoftheFreaksand



Geekspilot.Whiteputthewordoutaneditingslotontheseriescameopen,andFeighiredhim.AfterNBCcanceledthatshow,WhitefollowedApatow,itsproducer,tothepilotforanevertoairFoxsitcomcalledNorthHollywood,starringJasonSegel,AmyPoehlerandKevinHart.Itwassupposedtobe20minuteslong,Whiterecalls,andJuddshot,like,90hoursofmaterial.Iworkedreallyhardtryingtogetitdowntotime,andthe45minuteversionwasfunnyandsmart,butFoxneededitinthathalfhourwindow.Wecutittotime,anditjustdidntwork.

Thatexperiencedemonstratedhowtheformaldemandsofamainstreamsitcomand,byextension,ofamainstreammoviecansometimesworkagainstthesilly,freerangehumorthatrawimprovisationgenerates.AdamMcKaysaysitshardtodetermine,whenhescrackinguponset,howthejokeswillmorphastheygointothecontextofthefilm.Becauseyougetallthisfunnystuff,butthen,guesswhat,youvecutthemovietogether,andthelovestoryisplayingwaystrongerthantheotherthingyouthoughtwouldplaystrong,andthatjustchangesallthejokes.WehadasceneinStepBrothersthatwassofunnyundeniablythefunnieststuffwedevershot.Anditjustdidntworkatthescreenings,becauseofthestoryrhythm.Thescene,whichinvolvedWillFerrellandJohnC.Reillysleepwalking,camelateinthefilm,atapoint,McKayeventuallysurmised,whentheaudiencehadinsufficientpatienceforsuchapureflightoffancy.Thisnotwithstanding,Whitebelievesthateventhoughthereareallthesegreatthingswewinduptakingout,thebestjokeswillsurviveitstheDarwinismofjokes.

Whitesdutiesoscillate,asajobgrindson,betweenthoseofagemcarverandthoseofabricklayeritsonethingtoperfectasinglejoke,quiteanothertoassembleaseriesoftheseintoamoviethatstandsupstraight.ShootingforSpywrappedonJune21,atwhichpointWhiteandhisteammovedtoalargerpostproductionhouseonBurbankBoulevard.Fortwomonths,FeigandWhitehunchedoverthefootage,hammeringaway,asWhiteputit,andonthemorningofSept.2theywatchedapareddownversionofthemoviethatran2hours15minutesnotquiteshortenough,butgettingthere.WhitesatbehindFeig,takingnotesonthefilmandwatching



Feigwatching.Bytheend,Feigwasdisappointed.Wesuckedtheairoutofit,hesaid.

MelBrookshasstressedtheimportance,whileeditingafilm,ofcarvingoutthesitdownplacesfortheaudiencetostoplaughing.Alongsimilarlines,theeditorRalphRosenblumoncerecalledthatwhileshapingtheAnnieHallgaginwhichAlvysneezesintoapileofcocaine,hehadtoprolongthescenebyfiveorsixsecondstomakeroomfortheenormouslaughthebitprovokedattestscreenings.Evenifcomedypacingcirca2015ismuchmorecompressedthaninthe1970s,theprincipleholds:FeigandWhiterealizedthatintrimmingSpy,theyddoneawaywithtoomanysitdownplaces.

Whiteswiveledinhischairtoconsultabulletinboardcoveredwitheightrowsofindexcards,numbering86inall.Thisisthewholemovie,Whiteexplained.Eachcardbrieflysummarizedascene,oraclusterofscenes,fromSpy.Card070073,forinstance,read:Susangetsnewclothes,goestocasino,isgreetedbyFord.Ext.FancyshoppingstreetRome/inCasino.TheindexcardsformedaroadmapforSpy,and,toadegree,ajigsawpuzzle,too.Spyisaverylinearmovie,hesaid,butinoneofJuddsmoviesshaggier,morediscursiveIdbegoing,WhatifIputthisscenehere,thisinformationhere?Movingtheindexcardsaroundtoseewhatworks.

ThefirstofseveralpublictestscreeningsforSpywasscheduledforSept.25.FeigandWhiteplannedtoshowthemovieatamultiplexinWoodlandHills,Calif.,becausetheydhadsuccessthereinthepastandbecauseitwasfarenoughfromLosAngelestoensurealessindustryheavycrowd.AnotherfavoredscreeninglocaleforApatowandcompanyisaparticularmegaplexinamallinOrangeCounty,whichtheythinkoffersabetterindicationofhowMiddleAmericawillreacttoamovie.Ajokethatkillswhenyouplayitforyourcomedynerdfriendsmightfallflatwhenyouputitinfrontofactualpeople,Feigsaid.Whiterecalled,withpain,anearlyscreeningthatWarnerBros.conductedinKansasforArthur,the2011RussellBrandvehicle,whichWhiteeditedandwhichultimatelyflopped.Theaudienceapprovalscoresweredisappointingthatnight,andWhitereturnedtoCaliforniaaboardthesameprivatejetasseveralstudioexecutives.Itwassoquietonthatplane



horrible,hesaid.Youknewtheyddecided,thenandthere,Werenotgonnaspendanymoremoneyonthismovie.

TheWoodlandHillsscreeningpromisedsomethingmorepracticalthanasenseofhowSpywouldfareinthewild:AmicrophoneplacedatthefrontofthetheaterwouldprovideWhitewitharecordingoftheaudienceslaughter,againstwhichtoeditfutureversionsofthefilm.Ifajokedidntsendthecrestofthewaveformsufficientlyhigh,itwouldeitherbetweakedorreplacedwithanalternatejokeanddemotedtothefilmsBcutaversioncomposedofjokesthathadntkilledbutthatFeigwasntreadytotrash.SometestaudienceswouldunwittinglywatchtheBcut,andifcertainjokeswentovergreat,thenIllstealthemanddropthemintotheAcut,Whitesaid.Lastyear,ParamountPictureswentasfarastogivetheAnchorman2Bcutitsownlimitedtheatricalrelease:OverseenbyBretherton,Whitesdeputy,ittoldtheexactstoryastheofficialrelease,butwith763differentjokesslottedin.Thiswayofworkingdependsonnewtechnologiesbutreflectstimehonoredpractices.TheMarxBrothersvettedANightattheOpera,longbeforetheyevergottotheset,byprecisionengineeringitsmaterialonthevaudevillecircuit.

FeigandWhitestartedtoaddressthenotestheymadethatmorning.WhileWhitemannedhiskeyboard,Feig,dresseddandyishlyinanavypinstripesuitwithfluorescentfloralprintsocksandshinybrownwingtips,commandeeredaleatherswivelchairandfidgetedwithdifferentthings:aplasticstresstoy,anantiquewalkingstick(Feigcollectsthem),aChinesefan,amugoftea,hislowerlip.

Startingfromthetop,WhitesiftedthroughseveraltakesofapretitlesceneinwhichSusanhastheunenviabletaskoffiringherbosssgardener.Whitebegansplicingtogetherdifferentalts,thenintentonpumpingsomeairbackintothefilmexperimentedwithalong,awkwardpausethatterminatedinawonderfullyabruptsmashcut.Thistransitionappearednowhereinthescript,butthedirectorwaspleased.

Sometimes,Feigsaid,youjustcreateajokeoutofnothing.



Correction:April15,2015AnearlierversionofthisarticlemisspelledthenameoftheUtahcitywhereBrentWhitegrewup.ItisOrem,notOram.JonahWeinerisacontributingwriterforthemagazineandacontributingeditoratRollingStone.

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A version of this article appears in print on April 19, 2015, on page MM38 of the Sunday Magazinewith the headline: In Stitches.

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the man who makes the world’s funniest people even funnier

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