K: There was a lot of improv, but I can't think of how much got in this time. You mentioned using improv as a part of your process earlier. It has that lovely feeling, like putting on a comfortable pair of shoes. So it's fun to play that character, and it was fun channeling him again. I love characters like that, who are blustery, because I'm anything but blustery in real life. He's kind of… how can I put it… a relative of a character I used to play. He's a character that I feel very comfortable playing.
Keegan: Was it difficult to conjure up Mr. K: "I'm not going to let them pull one over on me!" He's there, one eye on the blackboard and one eye on the students. The joy of the original scene is that he doesn't trust them. P: Part of it was that it came off differently than what the joy of the original scene was. Garvey? Is that really his character? Or is this a different teacher?" There were some structural issues we had. Some of it was interesting, but some of it was, "Well, is that Mr. It wasn't functional Spanish that anyone would use - but the kids would have to repeat after him.
So the only Spanish he knows is Spanish like "Help me, I'm kidnapped!" or "How much for that prostitute?" That kind of stuff. Garvey was teaching a Spanish class, but his experience in Mexico - when he was younger, in the army - was very harrowing. K: The idea for the majority of the writing process was that Mr. There were a couple of different ways we were thinking about going about it - one of which we almost did - but this seemed like the right way to do it. We were searching for it through the entire writing process. P: It was really in the final hour of planning the new season. K: What advantages would that school have that inner city schools don't get? really goes back to the difference between the cultures of an inner city school and a more privileged school in the suburbs.
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It was very, very difficult for us to figure out how to do it. But when you bring someone back, you want to make sure it's not just a cookie-cutter, by-the-numbers version of the original sketch, where you have the exact same gag with different names. P: We wanted to bring that character back because people fell in love with him. Let's talk about the sequel to the original "Substitute Teacher" sketch, which aired in last week's premiere. Just to give him a spice of "haggardness." We also gave me a little bit of age around my eyes and under my nose. And then his mustache, to me, looked like a mustache that a substitute teacher might have. I wanted his tie to be short, but not too short. He's wearing a short-sleeve shirt and a really ratty, terrible tie, and has a receding hairline, to give him some age. He had spent 20 years disciplining these children in the inner city to no end - so he has this kind of hard, rigid sensibility about him, and I wanted that to be in his dress. I didn't want him to actually be from the military - I just wanted him to have that sense. K: I wanted him to look a little high-and-tight, you know? As if he had been in the military. Garvey's appearance? It's such a distinctive look. Once you had the core concept for the sketch down, how did you decide on Mr. You can see that Jordan has the voice for it." Or, "Keegan has the voice for it."
Usually, Jordan or I will hook into one of those lines, and then you can see the writer go, "This is good. K: In our pitch sessions - when ideas are forming - it could be me, or Jordan, or an executive producer, or one of the other writers adding lines to the concept. And Keegan is more of a feet on the ground type of guy. I'm more of a fingers on the… typewriter? Fingers on the keys type of guy. It gives us the chance to say, "Oh, that's a great idea." And the writer can offer him back something. He's the master of using improv as a writer, and embodying the character - becomes the character - as we're writing it. P: Keegan's writing process is really on his feet. It sounds like you both knew, almost instantly, that Keegan would be playing the character.
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