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Writing Craft, Vol. VIII: Rob Wilson and Jason Kypros of Plan B (Part Two)


Jason Kypros and Rob Wilson of Plan B sketch comedy and improv.

NORFOLK, Va. — I recently sat down with Jason Kypros and Rob Wilson of the Hampton Roads sketch comedy and improv group Plan B to talk about writing, handling sensitive topics with humor, and the group’s forays into videos. Here’s the second part of that talk. The first part is at this link.

This conversation was recorded at Kerouac Cafe before Plan B’s recent The Big Show at the Naro Expanded Cinema, and it has been edited for length and clarity. There is some adult language below.

Q: How much standup do you do?

Wilson: I do a little bit. Jason, he got me started. Yeah, he started me down that path years ago.

Kypros: What I ultimately would like to see for Plan B is, well it is already – a cool creative entity, a thing that is itself. It’s not me. It’s not Rob. It’s not Brendan. It’s not anyone. It’s everyone. … I’d like to see it where somebody could actually come to us and say, “We need a creative concept.” Because that’s what we do.

Wilson: We’ve done stuff for a lot of different people around the area, like “Plan B Cares.” We’ve got the YWCA we’ve done work for. … On top of that, when Jason says we’re a creative team, we can go anywhere and if you need two hours of entertainment, we can give it to you.

Kypros: Like last night I did standup, Rob did standup, Beatty (Barnes) did standup and then we did an improv show afterwards.

Wilson: There’s so much talent in this group and we’re trying to – I’m not going to say exploit – but we’re trying to bring all that to –

Kypros: We want to utilize it all.

Q: Let me go to “Light Rail” now. Obviously, I think it’s a great sketch. I think it is very funny, especially here.

Kypros: It is a little local.

Q: But it’s not like a local gag and then you show the “Plan B” (video credits). It’s a full thing. So this starts with you guys in the car –

Kypros: Wherever we were, we’re talking about the light rail and this was the time we were just starting the group and we knew – I was really pushing the video. … We were brainstorming, we had this idea, and looked at each other and said, “Let’s just write this one.” So we went back to the apartment, and Rob and I pretty much sat there and wrote the script.

Wilson: What was really funny is we needed a platform for these guys to really talk about this (in a) conversation. So we wrote the conversation first, the dialogue.

Kypros: Well, we had the jokes. We were laughing – you know, “It’s $100,000, you could go to the moon this number times.” So we had the jokes so that’s how we structured it. We knew where we wanted our beats to be. We knew where the open was, and we had our character point of view.

Wilson: That’s exactly it. It went jokes, and then we had the jokes essentially and we went to the characters. Okay, this is the point of view and how we can get to it, and then we came back to the jokes and really formed them to the characters. The part when the high math came in, like, we said that almost simultaneously.

Kypros: We had an idea – One of the things you think about for sketch, too, but definitely for video, you’re thinking, “What’s my stage picture? What’s it going to look like?” And we both were kind of brainstorming and we thought it would just be funny for Rob to be totally like in some crazy, like doing some high math. When we talked to Keith Jackson – and that’s when we got the location. My dad let us get into St. Patrick’s (school) and they had this white board. I said, ‘Keith … I need math on the board. I don’t care what it is. I need math.’ So he showed up with like the equation for hydrogen. So that’s what that is. But this is how that stuff happens. So you’re constantly writing the whole time, and you show up on set – We have our script, we have our beats and our characters, and we get on set and now we have Keith getting in it, too. Keith’s like, “We should go all the way around the board.” We start thinking A Beautiful Mind. So we get these crazy dolly shots that go all the way around the board. And then we had an idea it would be funny if Rob wrote something completely ridiculous on the board, so at the top, what is it? Like, “Ham over eggs times two equals omelet.”

Q: I’ve tried it. That hasn’t worked out for me.

Kypros: (Laughs.) It’s an inexact science.

Wilson: I was working it out.

Q: Let me take you back to the writing. So you’ve got your jokes. You work the dialogue. You know who the characters are going to be. So one of the things I like is a lot of the comedy comes from the acting. It’s your (Kypros) earnestness and it’s the way (Wilson) deflates everything that (Kypros) says with – and I love light rail – but with common sense.

Wilson: That’s the thing.

Q: But do you know that structurally, that that’s what you’re going to do?

Wilson: The thing was. Were knew Jason’s character is the voice of the city. He’s the city’s boy.

Kypros: The city personified. I’m the people making just blind decisions.

Wilson: Yeah. Like, “It’s gotta work out.”

Kypros: We were opposite ends of the spectrum. Republican-Democrat. We’re talking about the same thing but we have different points of view.

Wilson: In my mind, I felt like everyone that I knew. You know what I mean? All of the people I had talked to about light rail, these were the things that they were saying but their voice hadn’t been heard. They were saying it but they weren’t saying it at City Council meetings. They were saying it in bars. They were saying it, you know, wherever. So of course nobody was going to hear it because they were talking to other people in bars.

Kypros: That was the idea. And the choice for Rob to play that character and me to play the other character –

Wilson: We went back and forth.

Kypros: We didn’t really know who was going to play who at first.

Wilson: The “house citizen” line.

Q: That’s a badass line.

Kypros: It’s a good line, right? It’s got some layers.

Q: It’s a really loaded line.

Wilson: Once we had kind of figured out who was going to play what, that line came about then, because it would have been weird to go the other way, I think.

Q: How did you think about that line?

Kypros: We had some jokes, but the jokes do develop as you write the script. You don’t want to have too many jokes and you want it to seem dialogue-y and not jokey. … The house citizen line. We had jokes, and other jokes came out. One of the hardest things about writing a good sketch is the end.

Wilson: Yeah.

Kypros: Getting out of a sketch is so hard sometimes.

Wilson: All the time.

Kypros: Not all the time. Sometimes you get a gift and you know what your out is and you’re like, “This is great.” You know? But finding the out is just really difficult sometimes. That was toward the end and we added it. We knew what the voices of the characters were. We thought it would be cool to be able to say something that had that connotation, but apply it to a different – It’s still a mentality, you know what I’m saying? You can apply the mentality to anything you want.

Q: I worry that people who live outside the area don’t get how good it is. You lay out the logic – how isolated it is, how you stop at 7-Eleven – then you get to the capper, which I think is the Beach, where (Wilson) goes, whatever the line is –

Wilson: “Sure it is, Jason.”

Q: What is it, two minutes long? And you get all the logic against light rail – not that I agree.

Kypros: Well, yeah. I think when we were writing it we knew that we had something that was good. When we were done I felt this is a good sketch.

Q: Have you ever done that one live?

Kypros: No.

Q: A lot of it’s in the acting and the camera.

Kypros: It is. That was Keith. The whole bit at the end, you know, that’s Keith like, “I’m just going to let it run. You guys do what you do.” That’s him saying … let it happen. No, we haven’t done it live. Some of the timing happens in the post production, too.

Wilson: You find out how much of an editor’s medium it really is.

Kypros: You look at the footage for “Light Rail” and you see different takes on lines, different deliveries and intentions.

Wilson: It changes the whole thing. You could have cut really any of the sketches we’ve done a hundred different ways and it changes the meaning. We try it a number of different ways, really.

Kypros: To a degree. You can’t cut them too divergently. Every part of the sketch matters though. That’s a successful sketch to me because, you talk about timing, every part of it to me works together. Like the feet shot, me walking through. That was a last-minute thing.

Wilson: It built momentum for the scene.

Kypros: They’re not all home runs, but that one definitely had a better chance than others.

Q: How much of the finished video is in the script and how much is improv?

Wilson: Well the whole end is improv.

Kypros: The tag is all an improvisation. … Really the ending and the beginning is all improvised. With him working the problem and me coming in …

Q: Sniffing the marker?

Kypros: That was improvised.

Wilson: (Laughs.) I don’t know where that came from.

Kypros: I think Keith caught on to it.

Wilson: “Keep it.”

Kypros: ‘”You’ve got to sniff that marker, man. Sniff it.”

Q: Tell me about “Forest Fires.”

Kypros: We had the “Racism” PSA because we did it as a live performance for the YWCA. The feedback that we got was everybody really liked it. And again, part of the charge for doing more video work. I wanted to shoot stuff. Shoot stuff, shoot stuff, shoot stuff. And so I had a golden opportunity to have some hands on deck that particular day that I normally wouldn’t have. Chip Johnson and Keith Jackson and the racism PSA didn’t involve me, so I didn’t really have to worry about performing in it. We could really make more of a production out of it. So Brendan Hoyle, like all the early stuff with the exception of the (restaurant) interview … that’s all Brendan. He’s really good at turning a script out quick. That forest fires one was a PSA he had written, as well. So we decided it would be cool to try to shoot both. Since we shot the ‘Racism’ PSA, part of the production process was we shot it to look like a real PSA. So we thought it would be funny to sell this other PSA idea as if we just broke from a PSA. So that whole intro to that, the ‘Forest Fires,’ that was all improvised. We made that up on the spot.

Q: That racism one would have been very interesting with shirts off.

Kypros: (Laughs.) It would have been great. And the only reason we called it “Forest Fires” was we were trying to think of ways for it to get hits. We were just playing around. Forest fires were happening at the time.

Q: That one, other than the intro, was that scripted?

Kypros: That one was scripted. But like the donut was an afterthought.

Wilson: I wanted that donut.

Kypros: I ate it.

Wilson: We had like, what, four donuts?

Kypros: Just two. But the donut was a thought. We’ll go into a production and one of the things I like to do is think of the ways to make it more funny visually.You know, we do this and cut to this and I have a donut.

Q: There’s a lot of reversal of expectations in that one, too, which makes it funny. So you just work out the beats in the writing or is it in the rehearsal?

Kypros: Well Brendan had written it – He had written that sketch before Plan B. It was sitting around. So I had a chance to look at it, and just as an actor … You talk about the “Light Rail” and the acting and, well, we have done it for a while and we work well together. I knew – again, I had my point of view. I knew what was happening there. Brendan was going to try to derail, hijack the PSA, and I just wanted to keep it on track. “No, no. We’re not here to talk about childhood obesity.” And then some of the direction comes out of that.

Wilson: You figure it out. What’s really cool is attacking it from all these different angles, as an actor, as a writer. I guess Jason more than most and also Brendan, who is a great theater director, your mind starts working on like three or four planes when you first get a script. My thing is really live shows. I can grasp how a live show is going to work. … It almost happens organically. We’ve been doing it together six months now, and we’re starting to really know each other. … Now it’s one of those things to where when you get there you’ve got a feeling of how it’s going to go down. There are happy things that come out of the process –

Kypros: To interject, it goes back to that intent of the group having an improv base, so you know, here’s the script, you’re off book, I’m off book, here’s who is going to work the camera. Everybody’s got their role. But when you get down to doing it, you can allow that improv to happen.

Wilson: A big improv concept is that of one mind.

Kypros: We want to be like a cool-ass, jamming jazz band.

Wilson: You get the sheet music, you know the song, but you know, like, Lauren might riff off and do some cool stuff.

Kypros: And people have some characters that they can do. When you’re writing a sketch you can write to someone’s strengths. ‘I can just see this guy saying it.’

Q: Can we talk about the silent film? There are a lot of different kind of gags in there. Can you talk about how you came up with the idea?

Kypros: My dad’s been playing (piano) for the silent films forever. Before I was around. Thom Vourlas (of the one and only Naro Expanded Cinema) had mentioned to me years ago, “You know what you should do, you should do a silent film.” … As a part of a way to try and get the group out, and I’ve just reached this point in my life where I want to create, so we mentioned the idea to Thom, would it be a cool idea and he said sure. So we were like, “The Naro, we’ll be able to put a video up.” It was a great way to get some exposure.

Wilson: It was really cool being on the big screen.

Kypros: The concept basically was I thought about whether I wanted to make it look like a silent film, you know, do after effects so it would look all jerky. I tried to film it to see if I could make it look like that and I couldn’t find any easy answers. So my decision was to shoot it like a silent film. What I mean was to use all wide shots and then just dive in for coverage. I wasn’t worried about over the shoulders, medium (shots) …

Q: A lot of the coverage is for gags, like the locket.

Kypros: Exactly.

Q: You see the acting and then you cut to see the joke.

Kypros: Right. That was one of the jokes – Brendan and I opened it up to everybody. We always do. … But that was one of the jokes Brendan and I had from the beginning. We were laughing hard that is would be so funny to reveal this locket and we were both in it. … Because of that, because we couldn’t use dialogue, we knew it was really character-dependant. It was really dependent upon sight gags.

Wilson: The Phineus T. Snellsworth character (the heavy played by Wilson) actually came out – we didn’t know what to do with him.

Kypros: Rob came up with this idea. It was after we put the ‘Light Rail’ video up, and it was getting a lot of play. So we were talking about it and Rob came up with this character.

Wilson: It was going to be this guy and it was the same character but he went into City Council and went, “Yes, I’ve got this fantastic idea. I’m just going to need a hundred thousand million more dollars.” (Evil laugh.) And then the City Council’s just going for it. (Laughs.)

Kypros: And we used that character for a cold open we did at a Belmont show. That was his debut. Then we did this project, we decided to use that character as the lead, pretty much. The villain.

Wilson: We’re always finding new stuff.

Kypros: We had that long title card and there’s no way to read it. We knew we wanted that gag in there. … And we shot that in a day. We started at the Naro, and we thought we were going to this other location and there was going to be a whole chase scene around the house, and we were like, “No, can’t do it.” So we shot it at the Naro. … I wanted it to be like a silent film, but a 2011 silent film. Like it didn’t have to be something that Buster Keaton would (be in). It had to be like that. … We knew we wanted to be clever with (the form of the video) and break convention.

Q: And mess with light rail again.

Kypros: Yeah.

Q: Well, let’s talk about the ending. There are a lot of little gags, like the ropes just being piled on her.

Kypros: That happened there. We didn’t have time to get that shot. And in the editing room that happened. We’re just sitting there watching it like, “Aw, shit. We just pulled the roped off her.” And then we said, “Let’s let it roll.”

Q: And then you go into 7-Eleven.

Kypros: We had established that. (Laughs.)

Q: That was in the plan.

Kypros: That was in the plan. That was part of one of the shots. We knew we needed to get to a railroad track. We knew we needed a rope.

Q: So was that a light rail track?

Wilson: No.

Kypros: That was a piece of track that wasn’t even part of the track. We just lucked into this not-on-the-track track.

Wilson: Location scouting, man. That’s so important.

Q: I wasn’t at the show, but the whole part where you’re waiting for light rail, did that get a big laugh?

Kypros: Oh, yeah. “Where is that light rail” got a big, big laugh.

Wilson: It was just crazy.

Q: For that one, it’s almost like you don’t need the card. Because the joke is in the acting and then you get the card.

Kypros: Yeah, you get the acting and then you get the card and the card just punches it. That was in the timing too. We knew we had to time the joke but also we had an opportunity to get a laugh from the placement of the card. … Really, the title cards came after. Like “Where is that light rail” might have been one of them we knew was going to be in there.

Wilson: I think the whole thing we do that is exciting to me is the layering. It starts with the original person to the group, and you get some additional layering there. And then you get on set, and … there’s the improv that happens there, and then you get into the editing room.

Kypros: In post we can add sounds and play with the timing even more.

Wilson: They say too many chefs spoil the stew, but if you have just the right amount of chefs, you know what I mean? It’s just one of those things.

Kypros: We’re a creative collective. That’s what we’re trying to be. We’re trying to be an improv jam band.

And that’s that. Thanks, guys.

Speaking of jamming …

If you’ve stuck around this long, you deserve a treat. Here’s the amazing Dennis Chambers, playing us out. This song near and dear to my heart because my older daughter, now five, used to dance around to it when she was a toddler. Aptly named, too — “Plan B.”

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Writing Craft, Vol. VIII: Rob Wilson and Jason Kypros of Plan B (Part One)


Jason Kypros and Rob Wilson of Plan B sketch comedy and improv.

NORFOLK, Va. — I recently sat down with Jason Kypros and Rob Wilson of the Hampton Roads sketch comedy and improv group Plan B to talk about writing, handling sensitive topics with humor, and the group’s forays into videos — most recently a 10-minute homage to silent film.

Kypros, 33, is a Norfolk native and Wilson, 29, was raised in Chesapeake and Norfolk after his family moved here from Queens, N.Y. Both are writers and actors with Plan B, and both also perform standup comedy.

This conversation was recorded at Kerouac Cafe before Plan B’s recent The Big Show at the Naro Expanded Cinema. It has been edited for length and clarity. There is some adult language below.

Q: Had you wanted to perform when you were kids? How did that develop?

Kypros: I can remember being really little and I just liked to dance all the time. Whenever anything came on, I would just dance. Which is funny because when I was older, you’re an adolescent and you know, I would never dance, but inside I was like, ‘Fuck, I want to dance.’ (Laughs.) But I did a play in first grade, because my dad was teaching where I went to school. Ever since I did that play, I always was kind of doing that stuff.

Q: And at some point, comedy hit you.

Kypros: Yeah. I always loved comedy. … I went to Thoroughgood Inn (Comedy Club in Virginia Beach) before it shut down. I remember going to see a show and being like, ‘I can totally do that.’ But I just didn’t have the nerve to do it. So I moved to L.A. because I got a role in a film. … After a year and a half in L.A., I finally did stand up. I was probably around 23.

Q: What was the film?

Kypros: Mickey. … It was a John Grisham film. I was eligible for my SAG card after the film, and I met a producer and I started working for him. I moved to L.A. and found out intern meant work for free. … I started doing comedy and then started taking courses at The Groundlings.

Q: How about you, Rob?

Wilson: My first play, I can’t remember the name of the play, but I was probably in the first grade. I remember that I played an exclamation point. (Laughter.)

Kypros: I bet you were so good at that.

Wilson: I was. (Laughter.) Like, the play’s almost over and I come busting in. And I say, I’m like, ‘Bam!’ And then after I say my line the (Bel Biv Devoe) song ‘Poison’ comes on. And we all did the dance. (Singing.) ‘It’s driving me out of my mind.’ We all did that dance and I remember I was always do plays in church, and if there was time to speak, I would be doing it. It probably wasn’t until I was 13 or 14 years old, there was this girl, —– ——, and she was like, ‘I love poetry and plays.’ And I was like, ‘Shit, I do too.’ (Laughs.)

Kypros: —– ——, if you’re out there …

Wilson: Thank you. … I eventually started hating her guts. (Laughter.) But like the acting and the poems, that kept up. I decided in high school, that’s what I was going to do. I thought that was all that I was good at, and I’d been doing it since I was 14.

Q: You applied to Old Dominion University?

Wilson: Yeah. I went to (Tidewater Community College) for a minute, and I did some plays over there. I got into ODU. It was like being new all over again. I realized how much I sucked. (Laughs.) When you’re in high school you think you’re great. Then you get to college and you think you suck, and then you get kind of better at it. And then you think you’re great again, and you get back out into the real world, and you think you suck again. It’s kind of this perpetual thing of thinking you suck. I didn’t start doing comedy until I auditioned for The Pushers. And that was six, seven years ago. … (Following a pilot show for The Pushers) I did the very first real show. I was doing a play at the time, Hole In the Sky.

Q: The 9/11 play.

Wilson: Yeah. And – too soon, first. It was like 2003, maybe 2003, 2004. It felt too soon. … I was doing that, so I couldn’t do (The Pushers). So Brad (McMurran of The Pushers) and another dude came to the play and I was giving a heart-wrenching speech to the audience, and they found a way to sit right directly in my eye line, and Brad’s making faces. People were like crying in the audience, and I’ve got to try not to break character. That’s when I decided comedy might be fun to do.

Q: Did you go to school locally?

Kypros: I went to Norfolk Academy for 12 years. My dad taught there at the time, and then I went to college at Virginia Tech. It was pretty much right after college that I got that movie. That’s when I went out to Los Angeles. I lived in Los Angeles for about six years.

Q: What did you study at Tech?

Kypros: I was an interdisciplinary studies major.

Q: What does that mean?

Kypros: It’s almost like a choose your own adventure major. You take your minors and you turn them into an interdisciplinary studies major. My minors were theater, communications and the humanities. I didn’t get accepted for the engineering curriculum but I took engineering for the first year and half … and I was like I don’t want to do this anymore. … The theater minor happened because I was doing so much production. I was in a lot of plays, and you kept getting like a credit every time you did a play. I was like, ‘Shoot, I might as well take a couple classes and get the minor, you know?’

Q: What kind of plays? Was it comedy?

Kypros: No. Actually, I love musical theater. We did some cool stuff, man. We did some experimental stuff based upon a Kurt Vonnegut novel. Comedy always ended up coming up. You’ve got to know when to hit those beats. When you’re performing live, it becomes something you can feel. It’s not always the same thing. You know it from seeing things that make you laugh. It’s like, if that would have been a second sooner, I wouldn’t have laughed that hard. Timing is –

Wilson: Is everything.

Kypros: Is everything. Timing and life are both a bitch. (Laughter.) Timing is a bitch.

Q: So how did you do with standup?

Kypros: The first time I got up, I said to myself, ‘I’m going to do the edgiest stuff I have.’ I got up there, and it was some pretty decent stuff. I have joke about my mom being adopted. Some of the jokes I still tell today.

Q: What’s the joke about your mom being adopted?

Kypros: It’s just like people , when they get on stage, they want to say, ‘Well, I can say this because my mom was this or I can say that because my mom was that.’ You know, but my mom was adopted so I don’t know what she brings to the table. You know, the only way I’m going to find out is if I run for office or something. So I’ve had to look at my life and see if there’s any clues to show me what it is that she brings to the table. I realized that ever since I was 13 I’ve always had a job, so maybe I’m white. But at every job I’ve ever had they’ve always complimented me on my fantastic work ethic so I could be Mexican. I get my check and I don’t want to spend it so I might be Jewish. And I love white women so I must be black. And that was the joke. … The first time I got up and told these jokes, people laughed and this guy asked me if I wanted to do this show at this place that was down on West Pico Boulevard, the Comedy Union next to the Roscoe’s House of Chicken ‘n Waffles in L.A. It was like a bringer show. (The comic has to bring friends to fill the audience, and there’s often a drink minimum.) But it was cool. It was one of those moments where you got up, you did it, it was great, and then the guys says, ‘Hey, I run the show. You want to do this thing?’ You know, so that was neat. That worked out pretty good.

Q: How hard is it to fill the bringer shows? Did you have willing victims?

Kypros: Yeah. You have some friends. It’s always something like bring five friends or eight friends. But the thing was always, it’s a $10 cover and a two drink minimum. So it was hard to constantly hit your friends up, and they hear you telling the same jokes a lot. … After a while, you realize I can’t keep doing bringer shows. As a hungry comic, you want to do all the work you can do, but then you get to be a little wiser in your craft and you start to see what it is. You start to see the benefit of the open mics and then you say, ‘Well, maybe I only need to do one bringer show every three months and really bring ‘em out.’ … You almost inadvertently get a schooling in self promotion.

Q: You’re writing your own stuff.

Kypros: Yeah. Absolutely. My brothers and I have a great relationship and so every now and then they’ll call me up and have a funny idea, you know what I mean? There’s some jokes that I have that are certainly thanks to my brothers and there are jokes in there that are thanks to my friends too. You know, as comics you’ll sit around and go, ‘Oh, here’s a tag. In that joke what if you said this?’

Wilson: We were just having a conversation last night on the way to the show and somebody said pee-pee.

Kypros: I said pee-pee.

Wilson: And I said please don’t – there’s nothing sexy about referring to my penis as pee-pee, and we just spit-balled for like, what, twenty minutes on the way to this show. When we got to show, it killed.

Kypros: Yeah, I got up and started doing this bit and it worked. That’s how you write, I think. That’s how I write. The way I write the best. Riding in my car, thinking about something. You know, riding in my car by myself, it’s almost like I’m working. My head’s running, I’m thinking about stuff, and I’m putting stuff together. There’s nothing better than having a buddy there you can bounce stuff off of.

Wilson: Yeah. That’s a good thing. That’s actually the best stuff ever.

Kypros: Road tripping is good times.

Q: When did you start writing?

Wilson: I started in poetry and spoken word. … I started writing probably my senior year of high school for real. My buddy and I thought we were filmmakers and (laughs) we would do just horrible stop-motion effects and stuff like that … I was 22 before I wrote anything good. Everything was terrible up until that point – writing this hugely emotional, what we thought was avant-garde crap for years. But when I started writing comedy, started writing sketches all the time, that gets you to train that muscle to start thinking in that way.

Q: And for comedy to work, it’s got to have a shape.

Wilson: Right.

Q: You got to have the assumption, you’ve got to deflate the assumption and build toward the final turn. I know I’m not using the terminology.

Kypros: I don’t know what the terminology is.

Wilson: My favorite thing is incongruity. I learned this back in high school. One of these things doesn’t belong here. One of these things doesn’t work. You know what I mean? And then under that same kind of notion, what if something is completely out of place and no one acknowledges it?

Kypros: You put normal people in a strange situation or –

Wilson: Or you put strange people in a normal situation.

Kypros: You play with levels and all sorts of stuff.

Wilson: Truth’s the best thing, though – stuff that really tells the truth. That’s what I liked about the “Light Rail.” I didn’t even thing it was so funny. It was funny because it was so true.

Kypros: To me, that’s the whole reason I wanted to do comedy anyway. I grew up listening to Eddie Murphy, Robin Williams and George Carlin, but George Carlin was the one I really liked the most, I think, because I thought he was hilarious and he dealt with issues. He dealt with the way people thought about things. Everybody’s dealing with the way people think about things because it’s comedy, it’s the juxtaposition, but I just thought it was so cool. It was like, ‘Many a truth is told in jest.’ How many times has someone been, ‘Hey, you’re an asshole. Ha ha. Just kidding, man.’ Man, you mean it. (Laughter.) I like to say that standup comedy is the last bastion of free speech, or it should be. Which is why I tell that joke about my mom, because to me it’s ridiculous. We’re sitting here laughing and it’s like so what, I get to say this thing or that thing or this word or that word or I can say this scenario just because I have this card to say it? You know, if you’re going to say it, say it. The thing about it too is it’s what makes you laugh. You’ve got to hit that thing. Again, with the light rail, they’re thinking that. They’re already thinking it. And you’re saying it.

Wilson: We gave them a voice.

Q: How did this group start?

Kypros: I had done The Groundlings and I was back in Norfolk and I had always wanted to do – I felt like when I came back I wanted to do some sketch comedy. … I got to meet Rob and Brad (McMurran) and all those guys (through The Pushers), and Sean (Devereux) and everybody … Well, we kind of were buddies before I saw (Wilson) perform. I thought it was really awesome what they were doing everything and we all became friends and were hanging out and all that kind of stuff. … I had always kind of wanted to do something, but I didn’t know what it was. I ended up going back to L.A. after I came back (to Norfolk) to finish the class at The Groundlings, finish this last whatever. Now I’m a level four Groundling. It’s like a role-playing game or something. That was the one where they really taught me how to write. That was the one where the whole idea was look at all this improv training you’ve done – use it to write the sketch. Use it to fill in the blanks in the sketch. Which is really like we were doing already, where we’re riding in the car, BS-ing in the car, and suddenly I’m up on stage telling a joke, only it’s written, you know?

Wilson: Right.

Q: But if you want to go long form, and I think it’s the same as a story, there’s a shape. It’s got to go somewhere. We’ll (discuss) that with “Light Rail,” but how do you get to that place? The inspiration seems to be the improv, but at some point if you want it to be –

Wilson: With that sketch specifically, there was an idea. We were thinking, ‘Well, what’s on people’s minds?’ I think that’s where it started. And then we were –

Kypros: We were bullshitting about the light rail, is what it was. We were just talking about how stupid it was, and we started laughing, and … we just kind of looked at each other.

Wilson: Aha. That’s it.

Kypros: We had just started the group. I had come back and I’d done a couple plays at Little Theatre of Norfolk and Brendan Hoyle was the director there. He and I together were like, ‘Let’s start this thing. What do you want to call it?’ (Hoyle and Kypros then started Plan B.) Rob and I had talked about doing stuff together and it was the sort of thing where we were all talking about stuff but there was never the opportunity for us all to work together.

Q: So why did you leave The Pushers?

Wilson: I wanted to be a part of this group because Jason and I work together and we have a really great time. We have great chemistry. It’s fun. It’s like a little bromance. (Laughs.) And he’s like well we’re doing this thing, and we’re going to be shooting a lot of stuff, and it was always something I was really interested in. I thought a lot of subject matter was going to be different from what I was doing then. So I was like I want to do this thing, and (The Pushers) thought it would be a conflict of interest. (Though Wilson wanted to do both, he realized there was no way he could have split his time.)

Kypros: When we started Plan B, we had like eleven or twelve people. We had an audition. Thirty people came out. We didn’t expect that many and we had to choose 12 of them, and now … we’re down to nine. That’s how it goes. Cause it’s hard, man. No one’s making money.

Wilson: We’re doing it for the love.

Kypros: We knew that everybody had different levels of experience as far as what they’d done with improv. One of the things we talked about from the very beginning … we wanted improv to be the foundation of the whole group. The sketches would come out of that. It’s fun. You’re constantly creating. We’ve done a good job with it and we’ve tried to help each other along. Our rehearsals are like a class.

Wilson: Almost, yeah. Definitely.

Kypros: We have an agenda. Rob’s been making sure we stay on task with that.

Wilson: We all are on different levels. Jason’s gone all the way through The Groundlings. Lauren’s completely Second City trained. I’ve been doing it a while. I haven’t –

Kypros: You’ve had influences from all these different things.

Wilson: I’m like a ronin. I’ve learned a little bit from here, a little bit from there. All of us will tell you, every single rehearsal we go to, we learn something new.

Q: (Wilson and I) have talked personally about content. In my own writing this is something I’ve struggled with (in short fiction stories). One of the things we’ve had conversations about, is when you’re creating art or a sketch – and I think what you guys do is art – how do you deal with that issue of how you’re representing people in sketches?

Wilson: We did a racism sketch. Sometimes I think it’s what’s not said but how the characters themselves are portrayed. So in the racism sketch, I’m a black dude who has his own hang-ups and ideas and Brendan’s a white dude who has his own hang-ups and ideas. Both of the characters are coming from an intelligent place with an intelligent argument, even if their foundations are completely off base. What I’m saying is we’re not playing any one character in a way that –

Kypros: We characterize a specific point of view and the point of view points out the ridiculousness of the situation.

Wilson: Right, but I’m saying in the portrayal of the characters. Not just in the content. I think a lot of it has to do with the portrayal of the character.

Q: Both characters – and they say completely off-base things – but they both have power.

Wilson: Right.

Kypros: They believe what they’re saying.

Q: It’s a dialogue, it’s not –

Wilson: Right. It’s not, ‘You’re telling me how it is.’ And I’m just sitting here taking it or vice versa. It was honorable.

Kypros: It was an honorable dialogue.

Q: Until you got to Asians, but we’ll come back to that.

Wilson: Right.

Kypros: Right, but come on.

Wilson: (Kidding.) We don’t have any in the group, so they couldn’t speak up.

Kypros: Nah – Again, the point was to add to the ridiculousness of stereotypes and that sort of stuff.

Wilson: Right.

Kypros: That was the idea. Like for all those things, you’re talking about content and what we want to get across, I know for me – I have a production company. That’s how we started doing all these video things. I have a small production company, JLK Productions — there it is. That’s all the plug I’ll do. … But so basically, here I am, I know how to do this sketch stuff. The cool thing to me about the sketch stuff was, you know, this is what I was writing. I was coming out of The Groundlings writing all these sketches for stage and thinking, ‘Some of these would be good video sketches.’ To me, SNL and the stage and that whole concept – I really got a taste of that when I was doing that class. I mean, three months of that. So this was what I wanted to do. I knew I wanted to do Plan B and I knew we were going to have video influence from the beginning. … Keith Jackson started helping us out. He helped direct “Light Rail.” He and I directed it together, and he directed the racism PSA. … With the racism PSA, as far as content is concerned, we knew that – I knew that I wanted to keep it at a certain level. As a standup, I hate it when you go to work a room and they say, ‘You’ve got to keep it PG.’ I don’t know why. I feel we all live rated-R lives, and it’s ridiculous to pretend otherwise. You might stub your toe and say ‘shit.’ That’s the world we live in. So I’d rather be honest, but I don’t want to push it. But with the racism PSA, there definitely were some moments where we all as a group were like, ‘Well, how should we play that line?’

Wilson: I feel that when you’re talking about, especially, racial stuff or anything that’s kind of touchy, I go back to truth, man. Like, if it’s true, let’s play it from an honest place. That’s coming from an actor and a writer’s place, but, I guess, more as an actor because you want to play the honesty. We were cautious of certain things because you don’t want people to get the wrong idea. Because when you do something that’s touchy, when you do something that can go either way, there becomes a concern. (Comedian Dave) Chapelle was talking about it. He was talking about when he was doing his show … he did (a sketch about a family whose last name was a racial epithet) … He did the sketch and it was hilarious to him, but he would go to some backwater place and people would come up to him and be like, ‘Ha ha ha, (repeating the epithet) yeah!’ And it was like, ‘Why are you laughing?’

Q: That’s kind of what I’m getting at. Could someone watch that sketch (“The Folly of Racism”) and enjoy the fetishization of Asian women at the end of it?

Wilson: I think the point that it’s placed, it’s tongue-in-cheek enough – If they did, it’s a far reach.

Q: Right, but you think the sketch reads that, obviously, it’s satirizing both stereotypes and sometimes the ways we talk about stereotypes.

Kypros: Right. What Rob’s saying about truth and what we said about putting ridiculous people in real situations or vice versa is what you have there is you have two people who are characterized, and they themselves are playing stereotypes and they believe it’s their truth and it looks like a PSA. That’s how you get the funny in that sketch. It’s like (singing the NBC public service announcement theme) ‘The more you know … ’ So we have this real situation and we’re putting ridiculous people in it. So that’s why I don’t have a problem with the Asian joke because we’ve established that these two people are ridiculous. You know what I mean? So they say that joke and it’s like some place for them to – so the subtle way is it’s like bringing them together. You know what I mean?

Wilson: It’s like this common ground. And the thing I’ve realized is somebody dumb is gonna take whatever you say and feel whatever way they want to about it. But you know what you’re intention is. As long as you’re clear on your intention as an artist or as a group of artists –

Kypros: There you go.

Wilson: – then, I mean, you give it to them and it’s all subjective.

Kypros: You can’t make everyone happy, right? … Not everybody’s going to laugh at a comedy show the same way.

Wilson: The thing that gets weird is when you’re dealing with a group of artists and you don’t know the group’s intentions. You know what yours is. If you don’t know the group’s intentions, that’s where you get into a muddy place.

Kypros: We make sure, I make sure, Brendan makes sure that once we had everybody after the auditions we told everybody what our intention was.

Q: What is your intention?

Kypros: Our intention is just to be a really good sketch comedy group. Plain and simple.

Wilson: From top to bottom.

Kypros: We want to have solid stuff and we want to be able to appeal to a wide range of people. We’re not trying to go for one particular group. With my standup, it’s different. I go to do my standup and I want to say whatever I’m going to say and I want to do it however I want to do it. But with this stuff, I am more inclined to go, ‘Well, will the kids laugh at it?’ Like the silent film. (‘Follow That Fiend!’)

Wilson: We did the silent film at the Naro, and children were enjoying that. You know, it’s nice. Oh God, it’s so nice to be able to have something you can have your mother and children enjoy. You know I don’t have any kids yet – that I know of – but when I do I want them to be able to enjoy the things that I do. With my standup, my standup my kids are not going to enjoy. Until they’re 20. (Laughs.)

Kypros: You might not want them to hear it.

The next part of this talk is on the way.

Playing us out … a terrible song about an L.A. institution to which Kypros gave a shout out above. Enjoy the insincere dancing.

P.S. Plan B did not do this video.

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