Exclusive: Joel Kim Booster just wants to make people laugh – and if anyone can use a moment of bullets at the present time, his book, movies and television.
The comedian is scheduled to host the Guild Off of America 77 Awards out of 77 on Saturday (Roy Wood Junior joined the East Coast), because, as he put it, “I am a classic coach of me, so I am the Love Award offers.”
This, and hopes to provide a little relaxation from the few difficult years that many have faced in Hollywood, from closing production to double strikes to destroyed forest fires that started the year. More importantly, he looks forward to the opportunity to celebrate his membership in the Federation.
“I think we have seen a kind of strength of our union throughout the strike period that we went through two years ago,” he says to the deadline, adding that he believes that the strong labor movement will be “the best tool to fight against our country so that it becomes more equal than the oligarchy than it is already.”
Booster will be joined at the Los Angeles concert on Saturday, through a strong list of offers of offers that include Augars Ameodkar, Eric Bawza, Classe Brown, UNjano Ellis Taylor, Erney Hudson, Diara Kilpatrick, Thomas Lenon, Franklin Leonard, and Luke Tini. Tonight will also show a special appearance of Gillian Anderson, Brian Craneston, Bill Polman, and Naomi WhatsApp.
In the interview below, Booster spoke with the pluscinemaz.comabout how to try to achieve a balance that the hosts of the other award offers have failed to find it in recent years, and why his membership in the Federation will offer any opportunity he gets, and what he hopes in the future holds the book.
The deadline: There is a lot of attention to the hosts of the awards recently. What made you want to enter this square?
Joel Kim supporter: I am a classic gay man, so I love prizes. I watch them all during the award season, including all union awards. So it was a really exciting opportunity. This is the first time that you hosted an offer like this, so it is clear that it surpasses the nerves, because you are right, there is a lot of attention on the hosts of these offers. But I also think, there is a really nice thing to be wga. It is like hosting a family party. It does not seem to be a lot of pressure on me if you were hosting prizes for something I am not part of. Especially after the strike and the presence of the sit -in line for several months in a row with these people, it seems to be a really great opportunity to celebrate … so I was very excited to do this.
The deadline: I said before you were a WGA member is one of your most proud accomplishments. Why?
Support: For me, it is a type of double. It is clear that it is a great achievement to enter the union, to do the work required to keep standing in the union. This crazy dream has always been able to support myself in writing, since I was a child. To be part of this union, the presence of a character like this, “You are a writer working in this city, in this industry”, such a huge deal for me, because it is just something that is very far from it for a long time, to actually be a part From it now, it has become such an honor. The other thing is that I am working in my greatness. I am very proud to be part of the union. I think it is very important. I think we have seen the strength of our union throughout the strike period that we have passed two years ago. For me, the real change will only occur in this country when we see a strong labor movement. I think we see this through different industries and unions, and it is in fact our best tool to fight against our country that becomes more than a few than they are already.
The deadline: You can bring work conversations to other spaces, such as when I was given the screaming to the Federation at the Glaad Awards. Why do you think this is important?
Support: I think separation issues are part of my identity fabric as much as my race and sexual life. When we talk about representative policy, the separation is often left. It is fundamentally associated with all other things as well, especially in space like Glaad Awards, which focuses mainly on the LGBTQ experience. When we separate these, try to cut all our identities and all the things that make us who we are, we are weaker. The intersection of sexual activity, class, sweat, class and all these three things together are an important lens through which you looked through life. I don't just look at issues as an Asian person, as a gay person, or as a person previously working. I think, for me, they are all associated and fundamentally linked, it is impossible for me to talk about one without thinking about the other.
The deadline: I showed a prominent point earlier about the completion of the ability to keep yourself from your writing. How was your path to reach this point?
Support: It takes a lot of work that you are not asked to do, that you do not charge their salaries, and that you are completely organized in doing it. Always tell people that you cannot give yourself as a writer, all you can do is prepare when that happens. This was me. I mean, I sat in my daily job and on my lunch breaks, I wrote the texts of my specifications, and I woke up early to write, and I stayed late to write, and I did all this work at the same time in my life when I was working 60 hours a week in an emerging technology company and trying to keep my head above Water as a comedy in New York. I think you have the motivation to do all the pre -work required to prepare for luck and moments when it is the only thing that I can share with the writers who struggle. You just have to pay, and when the opportunity arises, be ready for that.
I got my manager because he saw me standing 10 minutes in a gay bar in Portland, Oregon, and was completely random. When I met him, he asked me, do you have a sample of writing? Do you have Xyz? And I was able to tell him, “Yes, I am ready. Put me into the coach. I think this is just aspect of trying to storm this industry.
The deadline: Let's talk about the offer. How do you approach monologue?
Support: So I am working with my close friend and Savant Louis Virtel shows to write this monologue. It is a truly difficult time for our industry. After the strike, but also in the post -fire Los Angeles, we are very sensitive to the ways that our society fights, due to both of these things, freshness from the strike, as well as healing from fires. We want her to feel a celebration. I want to be funny, of course, but I think there is a driving force to attend and want to roast the book and roast the idea of Hollywood and all these things. This is definitely part of what I brought to the table, but I think it is about lifting at the same time, right?
The deadline: There is definitely a high line, and many have crossed it and others are far away from. Both have led to reverse results in different ways.
Support: The thing that makes all the teams like a person watched a lot of prizes is that there are equal quantities of reverence and lack of clarification of what you do there in the room on that day. I have a lot of respect for the book and affection for being part of this union, but I also understand the innate tampering of the award offers as well. I think you should have the basic respect for what you do there in that room, but also a kind of most enlarged understanding [that] Awards are a little innate in a very silly. So you just have to get the right balance. I think that, where other prizes have failed, the hosts have failed to manage this balance. Not only can you go to that room, enjoy people, enjoy Hollywood and enjoy work … if you are also part of this device. I think many people have been wrong thinking that they are better than showing the award they host, and certainly not in this camp.
The deadline: If you want to look back at the show and consider it a success, what are some of the goals you want to achieve?
Support: I think, it is clear that laughter is a large part of it. You can think about all the noble ideas, goals and things that you want to come from a prizes, especially at a time when we are currently going through, but at the end of the day, I just want people to laugh. I still remember Chelsea Berete's opening joke from her monologue when she hosted several years ago. This is what I want. I want people to remember my opening joint. I want a comic five years from now who is hosting, or a writer, whatever his hosting after five years from now, to be like, “I want to be good like Monoluj”, because this is what I feel about it. I want to be good like Chelsea.
The deadline: Well, it seems that as soon as you find these offers a good host at the present time, they adhere to it for a long time. So perhaps you will be again five years ago.
Support: Welcome. This is definitely the best scenario for me.
The deadline: As I mentioned, the book had very few years. What are your hopes for this year and beyond to restore matters on the right path?
Support: I hope the industry will return to a place for risk, creativity and original ideas. Many of our talents are currently being wasted on current IP privileges and restarting. I have seen many great examples of the writers who have – because we were supported in this angle where the only thing that the industry is interested in buying is a certain thing – a bet – [found] Ways to bear the risks in this framework. I think it is a really great example of that PenguinIt is clear that the offer made based on strength Batman IP, but the show that stands clearly like its original idea in this framework. This, for me, is an exciting way to do this. If we have to work with an IP address, this is how you should do this. I hope to advance in the industry and things begin to recover, industry [will] Seize more opportunities and more risks to our original ideas and not just want to want to postpone current ideas.
