By Brianne Hogan.
Luciano Casimiri
Although not a household name, Canadian comedy writer, Luciano Casimiri, has made a comfortable living from comedy writing and “punching up” lame scripts in desperate need of a laugh, or two, or three (comedy writers abide by the “rule of three,” FYI).
The Toronto native started comedy at the age of 16 at the famed improv institution, The Second City. There, he met Kevin McDonald and Dave Foley, who, with Casimiri, would later form the iconic Canadian sketch series, The Kids in the Hall.
“In that class were many comic actors who I still work with and run into or watch, including Mike Myers,” Casimiri recalls. “We were all teenagers, and we knew that there was nothing else we could do. We were comedy nerds and went to watch movies together, and live tapings of the Frantics radio show on CBC, and we liked girls together, and they didn’t like us together – but the best thing was improvising and hanging out.”
The Kids in the Hall: Dave Foley, Bruce McCulloch, Kevin McDonald, Mark McKinney and Scott Thompson
Regardless of the how those girls felt, it was only upwards for Casimiri from there. Besides co-founding and writing for The Kids in the Hall, his resume is a diverse mix ranging from Canadian classics (22 Minutes, Royal Canadian Air Farce) to variety specials (A Russell Peter Christmas, Michael Buble’s 3rd Annual Christmas Special) to the 2014 Sochi Olympics. Casimiri is also a pedigreed “punch up” artist, breathing in new life and laughs in scripts for over sixty awards shows, as well as in speeches for Queen Elizabeth II and Bill Clinton.
Casimiri’s skill for comedy has served him up not only a ton of laughs, but also a slew of accolades, too. He’s received a Gemini Award (the Canadian equivalent to the Primetime Emmy) and four Canadian Comedy Awards for Writing in a Comedy Series, and has been recently nominated for a 2015 Canadian Screen Award for Best Writing in a Variety Special for his work on Buble’s recent Christmas special.
Currently working as the head writer and Creative Producer for Alan Thicke’s reality show, Unusually Thicke, in L.A., Creative Screenwriting thought Casimiri would be the perfect subject who could provide some insight into what it’s like to work as a writer for a variety mediums without skimping on laughs.
Carter, Tanya and Alan Thicke in Unusually Thicke
When did you know you were a writer? That you could write and were good at it?
There’s still a side of me that thinks that I’m not that good at it – but I’m better than most. The more you do it, the better you get. It’s like anything else. I’m good at self-motivating. The thing about comedy writing is that it takes a lot of time and preparation.
Who are some of your biggest influences in writing comedy?
Like most writers my age, especially TV comedy writers, the influences are varied. TV comedies like: Get Smart, SNL, Monty Python, I Love Lucy, Mary Tyler Moore, Carol Burnett, Jackie Gleason, Don Knotts, Art Carney. Especially in Toronto, we had access to the American classic sitcoms of the 70s and we also had Brit Coms like, On the Buses, and Fawlty Towers. They were structured well and character-based, all lead by virtuoso comedians. I also was quite influenced by Italian comedy, artists like Toto, who is one of the most brilliant film clowns. As well as Chaplin, Peter Sellers — these artists were virtuosos of comedy.
What was your big break in your writing career? What got the ball rolling for you so that you could actually make a living from writing?
Being part of Second City was a big break, and writing for Rick Mercer and This Hour Has 22 minutes was a big break, as was the Royal Canadian Air Farce, and working with Martin Short. There have been many big breaks – all of them fun and challenging.
Royal Canadian Air Farce
What’s your writing process like?
The process is usually the same: over prepare. Come in with many, many ideas. The thing I learned at Second City, and was reiterated by Martin Short, is that everything is an idea. Then take the many ideas, bring them down to only the best. If it’s a monologue for an awards show, go in with 80 jokes, bring it in to 20 for the rehearsal and 12 for the show.
You’ve written for an array of projects. From variety specials to reality shows to awards show. What are you actually writing in those circumstances that don’t adhere to a typical three (or five) act structure?
So for a variety show like the Michael Buble specials, you write monologues for the host and usually there are sketches that break up the performances in the show. So, if it’s Cookie Monster or Miss Piggy, then you write sketches with the host and the talent. A lot of it is pitching ideas just to see which sketch is acceptable by host, producers, talent, and network.
When writing for awards shows, there is a lot more work to do. I usually work with the host for over a month writing jokes and topical material that the audience can relate to. Sometimes the audience is internal, like at the Writers Guild awards, where it’s just writers and industry, so there are a lot of inside concerns. On some awards show, I’ll also be with the host during the show, so that if they need lines that are impromptu, I’m there.
On reality shows, like the one I just wrapped with Alan Thicke, I work with Alan and the showrunner on story idea. Then when the ideas are approved by the network, we break it down into a larger outline. Then the outline is broken down into 12 scenes per show. Then the scenes are broken down into suggested dialogue. The rewriting process is ongoing. Some episodes will go into 20 drafts, but the average is 12 drafts. The reason being that at each stage of the scripting process things change. A location isn’t available, or a guest star has become available. Or it rains, or it’s too hot, or you can’t get a permit to shoot on the street.
The script is a road map for all production, and it stays alive until it’s shot, so you have to accommodate all elements of production. Also Alan is very hands on and he is really good and very funny, and demands that the writer keep up with him.
Michael Buble’s 3rd Annual Christmas Special, with Cookie Monster
Do you think there’s a difference between those who are “comedy writers” versus those writers who are not? Other than the jokes…is there a certain perspective on life that’s different?
The thing that comedy writers have that is different than other writers is that they are funny. Unfortunately, everybody thinks they’re funny, especially on Twitter. But comedy writers are funny on demand. They see the subject matter in a different way. It’s like doing a cryptic crossword – there is one answer, but three ways to get to it.
Second City Training Centre, Toronto
You’ve been a teacher at Second City Training Centre in Toronto for many years. Do you think comedy writing can be taught?
Comedy writing can’t be taught. Second City teaches structure. Like all writing, sketch comedy has a structure. It’s what you do within the structure that sets the artist apart. I know how a Haiku is structured, but I can’t write a great Haiku… yet.
What’s your biggest piece of advice for aspiring comedy writers?
My biggest advice is keep writing. It’s that simple and that hard. Many people call themselves writers. Or they want to write something, but you have to write. That’s the difference. Everybody has a great idea for a movie or book, but not everybody can sit down and write it.
You’re a Canadian who writes a lot in the U.S. too. What are the key differences between the two industries?
The difference between the two industries is that there is more money to be made in the States. There are more opportunities, but there are also more people trying to do it.
I find that because the money being spent on Canadian projects is usually public money, then there is more of a respectful treatment of expenses. So whoever can come in for lower fees will get the gig, which makes it hard to make a living in Canada. When you say you’ll do it for a dollar, ten writers will come in and do it for 50 cents. Then a precedent is set and budgets are set, so that writers get 50 cents on a budget.
What are you currently working on?
I’m currently writing Unusually Thicke – Alan Thicke’s reality show. It’s a hybrid sitcom and reality show. It’s called scripted reality. I work closely with Alan coming up with stories. We structure them like a sitcom: there are 12 scenes per episode, then we shoot it reality style. I’m very fortunate to work with Alan Thicke. He really respects the writing process. He was the writer producer on a landmark show called “Fernwood Tonight” – and many more shows. I have a great deal of respect for his work ethic. I have been fortunate to work with talent that respect writers – Martin Short, Sean Cullen, Rick Mercer – all funny people, and all very respectful of the writing process.
You’ve won many accolades. In your opinion, what’s your biggest achievement?
I’d say the Gemini Award for writing, and the comedy awards are nice accolades, but the nicest is actually continuing to work. It means you did a good job the last time.
