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boburnham

Американский комик и певец.
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I'm lucky enough to be directing Jerrod Carmichael's new HBO special. Taping in NYC on 12/9. Tickets are FREE. Link in bio.

🇺🇸💩

East Gloucester Elementary School PTO

✌️✌

watch @petedavidson 's one hour special SMD tonight at 11 on Comedy Central. he's hilarious and a good person and has a regular-sized head.

#nationaldogday

25/26

Loving this new Sad Jay Leno filter.

My sister filming my father watch me tell the world that he googled "average penis gerth."

SO THRILLED TO BE A PART OF THIS GREAT ORGANIZATION THANK YOU ☀️☀️☀️☀️

someone mashed up my fake kanye with the real thing. very fun/cool.

Our brilliant DP @andrewwehde. 📷 by special boy @chrisstorer

Many people seemed to think this was a human child at the end of MH. But if you look very closely, it's actually a little man!

The Finale of Make Happy is now on my YouTube channel - w/ a slightly different audio mix for fun (louder/more track). Link in bio. #makehappy

I'd like to take a little time to thank some people. I joke in the special about how the show is "all me" but in so many ways it is not... I wrote the show with lights in mind. In 'what.' I started fooling around with lighting and production by adding it on top of bits I'd written - with this show, I wanted the tech to be the show's foundation. For it to tell the story as much as the material did. So for the first time, we hired a crew. Joe Werner for sound and Chris Galante for lights. We spent 2 days in a warehouse in Philly building the show, cue by cue. And then, over the course of 80 shows, we workshopped MH on the road as a complete technical piece. After every show, Chris and Joe and I would get together and talk about what worked and what didn't, what cues needed to be tightened, what looks could be tweaked for better affect, etc. This show evolved with and because of them. And the special is exactly how the touring show looked. We didn't add any production for the taping. None of the cues were fudged in editing. By the end, we were all completely in sync with one another. It was a three-man show with one on stage. The show is what it is because of them. My DP Andrew Wehde and co-director Chris Storer, both of whom also did 'what.' We started to talking about what we wanted this special to look like early on. To feel the texture of the air and the mood of the room. Not to turn it into some bright, over-lit "taping" but to make it feel like a venue actually feels -- dark and strange and special. Chris is my good friend and a genius and Drew was operating all the handheld and steadicam shit and is also a genius. Marc Janowitz our broadcast LD. It was his idea to give the audience that blue backlighting and I was totally against it b/c I wanted the audience completely dark but I'm so glad he did it. It's one of my favorite things about the special. And finally to Chris Scanlon. My tour manager who, for 'what.', basically was my entire crew and, for MH, organized and orchestrated everything at every step. He is my friend and I love him and he's the piece of human garbage eating a burrito at a truck stop in the last image of the special. Grateful.

won weak.

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