michael arndt endings

Process. Jordan Carlos: That was my second guess. Michael Arndt: Is it firing on all cylinders? And so you hopefully are creating a situation which your audience doesn’t see any good outcome possible, and then you open door number three, which nobody saw coming, hopefully, and that’s what I think works about that ending is that you’re opening up this sort of new possibility that your audience didn’t see. Welcome to the ScreenPlay Interview series with Syd Field. Michael Arndt: I hope- if it’s helpful to you hopefully it will be helpful to other people. Like you can write all these different kinds of endings, but at least just one, just give me one good ending, you know? What happens? Business. What are the philosophical stakes for you as a screenwriter? Michael Arndt: We’re all trying to write good stories. Again, I’ll just say, it’s the video I wish I had had 25 years ago when I first started out. Jordan Carlos: It’s all right, man. No comments: Post a Comment. And I just go, like, don’t treat it like it’s homework. Inspiration. Michael Arndt: If people want to talk about alternative story strategies, I would recommend reading Paul Schrader’s book, ‘Transcendental Style in Film,’ and he’s just issued, I’m going to give him a big plug, he’s just issued a new release of his book, it was his doctoral thesis, and he just wrote a new forward in it, and he talks all about what he calls “Slow cinema,” and he’s talking bout Ozu, Bresson, and Dryer, but he talks about a very different model of storytelling than the one I’m talking about here, and it’s brilliant. I have spent some time lately trying to collect the bits and pieces that can be found from those who've heard him speak. Michael Arndt: The evolution of it is not really a documentary, it’s just a web-video. Jordan Carlos: You know what I’m saying? Jordan Carlos: Can I ask this, I think you mentioned in the documentary, that this kind of method is impossible to write, or not impossible, but hard to write the first time out? I thought it was just some kind of [inaudible 00:02:12] but you basically blown the part and waived it in a good way to illustrate that the things that we love have a certain mechanism to them. Because this is a question I always get, and I was almost going to put this as an addendum in the video because when I’ve shown this video I’ve given this lecture, there’s always somebody in the audience that raises their hand and said well, the ending of The Graduate isn’t a happy ending, right, because they’re sitting on the bus, they look lost, they look like they don’t know what they’re going to do, and they could break up tomorrow, blah blah blah. Jordan Carlos: We’re going to cut that out, that I don’t know a film. You can learn more about the Writers Guild of America East online at wgaeast.org or on social media at @wgaeast. Jordan Carlos: So I usually hold them until later. We should place the values of community over the values of individualism. Michael Arndt: We’re all in the same boat together. But so you made it all up in your apartment. These are my notes on the first half of it (about 45 minutes). Michael Arndt: You know, there’s, I feel like there’s a lot of good endings out there, but something that’s insanely great, like something that you just go “Oh my god that was so great,” those kind of endings don’t come along very often. Jordan Carlos: Do you mean being more efficient in your writing? Jordan Carlos: I’m Jordan Carlos. Do you…, Michael Arndt: No, it’s really, it’s just, you know, it’s a way of procrastinating, basically. And again I think, this is the hardest thing about any kind of ending like this, is that you want, to give a little bit of a spoiler, you want to have your external stakes, your internal stakes, and your philosophical stakes all seem on the verge of defeat, you want them all to turn over, and in a logical connected with each other, and in as close proximity to each other as possible. Insanely Great Endings: Michael Arndt There's a rumor that a PDF file exists somewhere of Michael Arndt's "Insanely Great Endings" lecture. Michael Arndt: My dad worked in the State Department, so I grew up actually in India and Sri Lanka also when I was a kid. Subscribe to: Post Comments (Atom) First, someone wrote. Michael Arndt: Because heists are like vacations. Dissertation zeilenabstand. Jordan Carlos: Wow, which neighborhood? But there’s a great antagonist’s aria in The Big Lebowski, right? Or the heroine, the girl, she got the dream job that she always wanted, and she got the cute guy, you know, and she overcame her rival, but so what, you know? - Michael Arndt speaks at the Vancouver International film Festival's Film and TV Forum as part of "Film Day" on Sept. 29 at 11:15 a.m. What I’ve called “The Insanely Great Model,” is only a small subset of the kind of endings that you can do. And none of them had these screenplays, I didn’t have an agent, I didn’t have a producer, I didn’t have anything basically. Again, a lot of this was just, I had all these ideas in my head and I just wanted to get them out of my head and put them [crosstalk 00:40:40], Jordan Carlos: Is it something that you enjoy doing, do you enjoy teaching? He’s the most laid back. I try to be, at least. Michael Arndt: It’s all out in Los Angeles and I think that A. I was lucky that everything was so cheap back then in Williamsburg. Record and instantly share video messages from your browser. Michael Arndt: It’s like going to the gym. Like because I feel that I don’t know how you write, but do you avoid writing sometimes? It all just came together. Michael Arndt is a screenwriter known for Toy Story 3 and Little Miss Sunshine, among others. Jordan Carlos: So you seem like a very narrow-minded person. Jordan Carlos: Well, I think that is a great ending. It really doesn't, as of this writing. I feel like a lot of times it gets clouded when people talk about theme, but what’s really going on- theme obscures the idea that what you really have often in a story is a contest between two sets of values and as I say in the video, usually there is a dominant set of values and there is a non-dominant set of values. I’ve written a bunch of screenplays and there was- I just didn’t have an agent or anything like that. Découvrez sa biographie, sa carrière en détail et toute son actualité Michael Arndt: I think that, I’ll just put it this way, when you’re making a film in New York, it seems like this heroic thing. And he gives this great speech where he goes “The bums lost, Lebowski, condolences the bums lost,” and then Jeff Bridges walks out of there and it’s this great thing that, it makes Jeff Bridges’ laid backness heroic, because you’re creating this universe where everybody is kind of uptight and on edge, and that stands in stark relief or contrast to The Dude, you know? Or if you’re sick and tired of your small comedy, you put it aside and you work on something else. He had heart all along. Michael Arndt: But I think that just in New York, like, there’s something just magical about making a movie in New York, and when you’re in LA, it’s such a, it’s just so commonplace out there that it just lacks that sense of magic to it. And I talked to my lawyer and he’s like, as long as you’re not charging money for it, as long as you’re using it for educational purposes, it falls under fair use, you can do whatever you want. It’s really the way to defeat the bad guy in Star Wars is not just one thing it’s two things because A. you have to have Han come in and embrace the values of team work and cooperation but B. If you just set it up between good guys and bad guys, what made Star Wars work in 1977 was that, for the previous decade, you had your good guys getting killed, like Butch and Sundance got killed, the guys in Easy Rider got killed, Cool Hand Luke got killed, all the good guys for ten years were getting crushed by the system, so that when you got to 1977 we’d had ten years of good guys getting killed, so when Luke actually lived at the end you really thought “Oh my god,” like Luke might die. It really doesn't, as of this writing. My mentor provided me with a lecture about endings of scripts. Jordan Carlos: I would just say this, it also helps, there’s some, like I’m figuring out a script right now myself. In 2014, when I was still entertaining hopes of being a screenwriter as well as a fiction writer, I went to the Austin Film Festival and heard a lecture on endings by Michael Arndt, writer of Little Miss Sunshine. Jordan Carlos: And you’re working on it currently? Thanks for tuning in. And so this is why, again, I feel like it’s important to pay attention to how your hero is either going to prevail or not prevail, because again, it’s speaking to an underlying set of values that are embedded in your story, and if you can convincingly create a contest between two value systems and you have one that’s saying “You should live your life,” let’s just say “You should live your life pursuing money,” or “You should live your life pursuing love,” right? While the girl gets the boy, or the hero wins the prize, much of the emotional catharsis of story resolutions are sorely lacking.With much reflection, he has identified three important ingredients for a great story, which when resolved create a great ending: a personal stake, an external stake and a philosophical stake. It was a valued rug. Click on it for larger version. It’s like all the pleasure’s in the planning. What’s incredible to me, at least, about the ending of Star Wars is that you’re vindicating both those system values. Jordan Carlos: Oh, man. Hey folks, it’s a podcast already! Michael Arndt: Money is also time and I figured I had this money in the bank and I basically quit my job and I gave myself a year to get all my screenplays written and the hope was that I would get an agent during that time. I was really on the verge of a nervous breakdown. Michael Arndt: But other than that I’ve just been in New York. Do you cave? Like the philosophical battles that they see onscreen, right, because Americans more and more are watching TV, we’re watching movies more than ever. Let me ask you this. Most Read Posts. Do you have some Avengers draft to turn in, or what’s going on? At least, that’s what one might take away from the two very different running times of videos screenwriter Michael Arndt (Toy Story, Little Miss Sunshine) has posted about these crucial elements of any movie.His “beginnings video” runs eight minutes while his video on endings has a whopping feature-length running time! You’ve written “Little Miss Sunshine” and you also recently wrote the new, not the newest Star Wars, but Star Wars-. Am I gonna spend an extra four hours at work sucking up to my boss, or am I going to go home and play with my kids and like cook dinner for my wife?”. And you have your classic console moment where he comes back and he becomes a team player and he embraces the values of cooperation and democracy. I just was thinking about this recently, like how important that scene with the real Lebowski is, just in making you like The Dude, and making you root for him, because you’re introducing this antogonist, this bad guy, who is so uptight, and so tightly wound, that you naturally then, sympathetically side with The Dude, and he becomes this heroic figure. You'd think a talk like that would blaze a trail through the internet, but I've yet to see an audio or video link. 250 Hudson Street, Suite 700 Actually do work. I also went to film school in NYU and when I got out I was like, “Should I move to LA or should I stay in New York?” I chose to stay in New York in a weird way. And you’re just working on, you put aside your science fiction epic and you work on your, you know, small comedy or something like that. Most of this episode dates back to that trove of pre-George-Floyd recordings we … Broadcast your events with reliable, high-quality live streaming. Jordan Carlos: Where were you when you wrote “Little Miss Sunshine”? Critical reaction was far from glowing, and fans weren’t too hot on it either. So I would say that Ben got what he wanted, and it doesn’t, in a weird way it doesn’t matter if he and Elaine are going to stay together or break up the next day. Because your inciting incident right is they come and they pee on his carpet, right? So I’m sitting down writing screenplay number six and I was like, “Okay, maybe I should try doing something different.” My brilliant insight was that people actually prefer being happy to being unhappy, so maybe I should try writing happy endings. I’ll give you a small example, and I was just thinking about this, we’re all familiar with the antagonist’s aria in a superhero film, or Die Hard or whatever, right? Michael Arndt: To me at least Star Wars was the ending that taught me how to write an ending. Do you feel like to be an artist in New York, to be a writer in New York, and just try to break in New York City is tough because it’s all out in Los Angeles, right? Jordan Carlos: And it’s based on fairytales. The podcast is hosted by Jordan Carlos. And then finally one day I couldn’t think of anything and I was sitting at home watching TV of course, and there was an image footage of a child-beauty pageant and they’re always little, skinny, blonde girls parading around, prancing around in costumes. Whatever you want your story to be, I think that if you look at Shakespeare, a lot of times, I’ll just go to the end of Lear. So what’s important about knowing what’s the governing ethos of the universe you’ve created is, in Star Wars for example, the governing ethos is violence and coercion, right? I just watched it last night and I didn’t know, it was kind of like an unknown-unknown. Like find the fun in it. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. Michael Arndt: I hope people find it useful. Well, what’s next for you? Yeah. Just go, ‘Once upon a time there was a little girl in a basement and she’s watching TV and she wants to be a beauty queen. And so my answer to that is, in a story, the problem that you’re solving at the end of your story is the problem that you set up at the beginning of your story. Anyway, Izzy gets it. He also wrote the screenplays for a few other low-budget, indie films like “Toy Story 3”, “The Hunger Games: Catching Fire,” and “Star Wars: The Force Awakens.” “Endings” explores how great film endings work through a close analysis of the climaxes of “Star Wars,” “The Graduate,” and “Little Miss Sunshine.” And Michael is clearly a generous man, because he has made “Endings” available to watch online for free. This first offering is with Academy Award-winning writer of "Little Miss Sunshine" Michael Arndt. I decided not only is there, in a good story, an external set of stakes and internal set of stakes, I feel like there is a philosophical set of stakes. Michael Arndt, I thank you so much for sitting down and taking the time to talk to us. Michael Arndt’s Idea of a Great Ending Many story has a great beginning, a good middle, but fails on its ending. Jordan Carlos: Are you a subway guy? You talk about the fact that we- I personally understood the more physical stakes, right? Jordan Carlos: Godzilla 2, maybe. At this time, there will be no in-person Script Registration. It’s like any way that you can avoid writing, you know, is you know just distracting yourself with something else. For the first episode of OnWriting, we spoke with Academy Award-winning screenwriter Michael Arndt about his video lecture, ENDINGS: THE GOOD, THE BAD, AND THE INSANELY GREAT. Like that instinct is born out of a…it’s really born out of the organic logic of narrative. He loses Cordelia, you know, Cordelia dies at the end, and his other daughters betray him, but Shakespeare gives Lear this moment of lucidity at the end, it’s right before Cordelia dies, where he started off as this [inaudible 00:32:34] foolish old man, he starts off as the most vain person in the world, and there’s this great moment where they come to arrest him, they come to arrest both Cordelia and Lear, and they’re like “Okay, buddy, we’re taking you to jail, we’re taking you to prison,” and Cordelia goes “No, no you can’t, he’s the King, you can’t put him in prison,” and Lear has this great speech where he goes “No no no, let’s go to prison, it’s okay, like, we’ll laugh and pray and sing and tell old tales and laugh and build butterflies, and take upon us the mystery of things as if we were God’s spies,” and he’s [inaudible 00:33:02] this ultimate humility, that as long as he can be with Cordelia he’s happy, and it’s just a great moment, it’s a great moment of internal transformation, so that even though you get, and then, you know, you have this horrible, gut wrenching thing that Cordelia dies, you know, and “You men are of stones, had I your tongues and eyes I’d use them so that heaven’s fault should crack,” sorry I’m quoting Shakespeare, but –. Jordan Carlos: Time is money, but money is also time. I was thinking I was going to be a clerk in a rental store or something like that- in a video rental store. As any longstanding Go Into The Story reader is likely aware, I am a big fan of screenwriter Michael Arndt. Michael Arndt: I’m working on it right now. But you’re always getting new ideas also and you’re always excited by like, the latest idea that you’ve had, so I’ve got a couple of, you know, irons in the fire, but there’s one that’s sort of closest to being finished, and it’s a comedy, and…. One of the value systems is going to prevail. I’m glad I brought that up. I’ve learned a lot. I feel like that’s all I do. Jordan Carlos: What are those seven that you wrote in a year? She read both scripts and she liked “Little Miss Sunshine” better. It’s just like, whatever is the thing that you most want to consume, put that right in front of you and do that right now, because that’s, you know, the problem always is, you wake up in the morning, what’s going to make you excited to sit down and write? And says, I’ve got my money, I’m out of here. 609. The way in which your good guy defeats your bad guys is important in that it speaks to the meaning of your story. I know that’s going to be a good ending. The end of Lear he loses the kingdom, it falls into chaos. Jordan Carlos: Oh my gosh, she loves, Izzy, you like Wizard of Oz, right? Sometimes in a tragedy, the bad dies and prevails and that becomes a tragedy. ENDINGS The Good, The Bad and The Insanely … Michael Arndt: I was sitting on my ass in my little one bedroom walk-up in Brooklyn, basically. Or from the time Ben runs into the church to where he runs out of the church, it’s two minutes. Jordan Carlos: You’re lost? And it’s like, instinctively I’m like the worst thing is that her brother Dwayne goes backstage and confronts Cheryl the mom and says I don’t want Olive going on. Jordan Carlos: And then one day. Michael Arndt: Actually, I took the subway every day when I was living in Brooklyn for almost 20 years. For the first episode of OnWriting, we spoke with Academy Award-winning screenwriter Michael Arndt about his video lecture, ENDINGS: THE GOOD, THE BAD, AND THE INSANELY GREAT. He says, I’m worried about my future, what about, I just want it to be different. Insanely Great Endings: Michael Arndt. Michael Arndt: I’m just hoping I can solve just sort of some basic nuts and bolts problems. Do you often go to LA? Michael Arndt: Yes, exactly. Jordan Carlos: I say suck up to boss. Michael Arndt: But you can have your hero fail externally, you can have your hero fail internally, but a lot of times what you want to do, if you can just give them, not even a victory philosophically, but just a moment of lucidity, or a moment of clarity about their own life, that’s something that’s satisfying to the audience. Labels: Beginning a screenplay, Michael Arndt, professional advice. And also, I feel like there’s a value to audacity, something that’s going to feel a little bit dangerous that you’re doing. I mean it goes back and back. Writers Guild of America, East The Graduate is such a great ending. But you’ve come today to talk about a documentary that you made, “Endings,” which was just phenomenal. Jordan Carlos: Right. In 1998, I had written a bunch of screenplays and they all had this edgy, downbeat on happy endings. Was it like [Shushank; 00:13:19] you were trying to dig out of a situation-, Michael Arndt: No. So I basically, I sat down and wrote seven screenplays in one year and “Little Miss Sunshine” was one of them. Technique. I probably could have broken in a lot more quickly if I’ve gone to LA. I didn’t know I didn’t know all this stuff. I mean, sometimes, I always hear it’s the last ten minutes, you say it’s the last two. Jordan Carlos: I have to say, I now see it everywhere, because I was watching one of our great American films, Captain Underpants this morning with my daughter and my son, and my son asked for it by saying “Tra La La,” which is Captain Underpants’, I don’t know if you have kids, or anything like that yet. Michael Arndt: I think that you, my advice is always, just do the thing that makes you excited. He is a writer, known for Star Wars: Episode VII - The Force Awakens (2015), Little Miss Sunshine (2006) and … If you like OnWriting, please subscribe to our show wherever you listen to podcasts, and rate us on iTunes. I find it fascinating to see where people write, what moments- did you feel desperate? I have a few questions. Toronto, Vancouver, Shanghai, I’ve gone all over the world-, Jordan Carlos: At this point, I just watched it last night and I have to say that you are at the of it of being Jonah of screenwriting because you’re giving away some really good trade secrets for-, I just watched it and I was like, “Oh, that’s how I can improve my writing overnight.”. Michael Arndt: I’m just trying to focus on original scripts and I have a comedy that I’m working on. Michael Arndt: It’s just really smart. Share to Twitter Share to Facebook Share to Pinterest. To have a career in New York in the applied arts. But Michael, I want to ask you like, it feels like you’ve got, like you’re very, like I said before, the Jonas Salk reference I made, you’re giving this away essentially for free. Michael Arndt: And I feel like, you know, people have said well why don’t you turn it into a book, but I feel like a book doesn’t work the same as a video, because you’re able to just show those moments of help me, Obi Wan, you’re my only help. Michael Arndt: To me, it’s the last two because, an it’s amazing when you look at the ending of Star Wars or the ending of The Graduate, like it breaks down to almost exactly two minutes, from the time Obi Wan starts talking to Luke to the time he goes “Remember the force will be with you,” it’s almost exactly two minutes. He’s put his observations together as a terrific video that offers great insights and practical advice. Rather than… Email This BlogThis! Do you take the subway? In Little Miss Sunshine, the Little Miss Sunshine universe is all about like mindless competition. Beginnings Endings TS3: Mistakes Made, Lessons Learned TS3: Introduction TS3: Opening TS3: Inciting Incident TS3: First Act Break TS3: Midpoint TS3: Second Act … Jordan Carlos: So what is it like to be in New York as a writer? So those kind of, to articulate and to kind of like suss through why you’re doing it, I think is very helpful. Michael Arndt: I’m in LA. So, I knew that that was the kind of ending that I wanted, but I didn’t know what the story was going to be attached to that ending. Insanely Great Endings: Michael Arndt There's a rumor that a PDF file exists somewhere of Michael Arndt's "Insanely Great Endings" lecture. Mar 27, 2019 - Explore Merging Story Pottery's board "Michael Arndt" on Pinterest. And when I moved to Brooklyn I was a young guy on the subway, and when I left I was the old guy on the subway. So you want to keep that. Passion. So the Death Star of bourgeois conformity is a church in Santa Barbara with a wedding going on. Or she is making up stories and they do follow that structure. Michael Arndt: It’s funny how you can, listen man, I’ve watched the last, that climactic few minutes of Graduate, I’ve watched it like 100 times. Michael Arndt: Well it’s interesting because like, when I wrote Little Miss Sunshine, right, you’re just, the rule of thumb is you’re always trying to make things worse for your protagonist. Excuse me, I’m not in LA. RESOURCE. So when Ben runs in the church, right, and he’s looking down and he’s seeing Elaine and Carl there, it’s the drama of conformity versus nonconformity. I remember writing that, but I just did it out of instinct, because you just go like, that’s a really bad thing to happen to your hero and it makes Olive all the more brave when she decides she’s going to get up, put her hat on, and go dance anyway. Jordan Carlos: We’re doing this podcast. Jordan Carlos: Yes. Michael Arndt: No, I’m from DC, actually…. Michael, thanks for joining us today. You’re totally right. In July, I shared a video essay by screenwriter Michael Arndt on insanely great story endings.The 90 min presentation is a brilliant excavation of how narrative works, and how crisis and catharsis interweave to create ‘insanely great’ story endings.. The Ozu film from ’48. Please enable JavaScript to experience Vimeo in all of its glory. Michael Arndt: I was going to have to go back and get another job again. See more ideas about michael arndt, pottery, urban art. And it can just be that he’s stronger or that he can withstand more pain or something like that. And again, it’s your hero’s closest ally is stabbing your hero in the back philosophically. Michael Arndt: Yeah, I just came up with, I think that a lot of times, especially in something like a superhero film or an action film, those films tend to be antogonist driven, like it’s, you know, usually James Bond is not driving the plot, James Bond is trying to stop, you know, Blowfield or whoever is actually driving the plot forward. Michael Arndt: I guess I would joke that I have the distinction of being the first guy fired off as Star Wars franchise, recently. Can you name a movie that got it wrong? Michael Arndt: There’s the moment in The Graduate when Mr. Robinson shows up, takes Elaine away, and she writes this letter to Ben and says you know, you must understand, my father is so angry, I love you but it would never work. Michael Arndt: But I think that the, just to go back to your question about New York, there’s something about…. Michael Arndt was born on November 11, 1965 in Harris County, Texas, USA as Michael deBruyn Arndt. Michael Arndt: I’m actually pretty optimistic. View Notes - MichaelArndtEndings-The Good, The Bad and The Insanely Great from FILM 3001 at Columbia University. Jordan Carlos: Yeah, that’s what I was going to say. Michael Arndt won an original screenplay Oscar in 2007 for “Little Miss Sunshine” and now finds himself nominated again, for best adapted screenplay for “Toy Story 3.” But, as he said on Tuesday morning, writing remains a mysterious, difficult process. Jordan Carlos: But Nichols is like that, though. from Michael Arndt's "Endings: the Good, the Bad, and the Insanely Great" is one of the best videos on screenwriting craft that I've ever watched. I’m going to write the happiest fucking ending possible.” My goal was to drive the audience insane with happiness. She said, “Can I give this to my agent, Tom Strickler?” And so I said, “Yes, please.” Then I waited six weeks and I didn’t hear anything. And there’s elements that I put in that I don’t know why I do. I think that is an insanely great ending. With the Vancouver International Film Festival coming up, I’m back on the culture beat for the North Shore News. Like that’s always the frustrating thing is that you open it up and you’re like oy, this thing still doesn’t work. - Michael Arndt speaks at the Vancouver International film Festival's Film and TV Forum as part of "Film Day" on Sept. 29 at 11:15 a.m. Are you at liberty to say one? Usually, the way I started screenplays is I get these huge delusional bursts of enthusiasm and I think, “this is going to be the greatest thing in the world.” And I sit down and I write my first draft and is not great. And I’ll give you an example that I mentioned before we started the interview, which was one of the reasons I feel like it’s important to know what’s philosophically at stake in your story is that it can help you figure out things like the geography of your third act. I want that. And that is not an understatement. Michael Arndt: It’s very helpful. We’ll also include a link to the video in our show notes so be sure to check it out. Michael’s first feature-... – Listen to Episode 1: Michael Arndt, "Endings" by OnWriting: A Podcast of the WGA East instantly on your tablet, phone or browser - no downloads needed. Jordan Carlos: It’s kind of crazy, right? Lot ever since I watched the video in our show notes so be sure to check it out: Arndt... With all the pleasure ’ s firing on all cylinders keep it fresh up. Shore news with all the tools you need on one secure, reliable video.. Is the Little Miss Sunshine universe is all about like bourgeois conformity podcast of the romance his,! Love movies it, basically show notes so be sure to check out. Becomes a tragedy, the Little Miss Sunshine universe is all about like mindless competition is Little! Post Comments ( Atom ) first, someone wrote comedy that I ’ ll hear michael arndt endings on! 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