Aidy Bryant plays a young journalist named Annie in the Hulu Comedy Shrill. The series is based on the memoirs of Lindy West from 201
Allyson Riggs / Hulu
Allyson Riggs / Hulu
Aidy Bryant plays a young journalist named Annie in the Hulu Comedy Shrill. 19459011 The series is based on the memoirs of Lindy West from 2016.
Allyson Riggs / Hulu
Aidy Bryant mourns the time she lost as a teenager when she was in her early 20s and felt self-conscious about her body. The Emmy-nominated comic and actor says she lived for fear of judging her weight.
"I felt that the worst thing anyone could do would be to believe that I'm fat, to call myself fat," she says.
Bryant began to channel her energy into her writing and comedy career. She moved to Chicago to watch the comedy in Second City, and was featured on Saturday Night Live in 2012.
Bryant is still at SNL and now also plays in the Hulu Comedy Series Shrill based on the memories of Lindy West from 2016. Focus The series features a young writer named Annie who describes herself as a "woman who wants to change her life – but not her body".
It is a perspective that appeals to Bryant. Looking back now, she says, "The second I was no longer afraid of someone calling me fat, I could focus on my goals and dreams."
Highlights of the Interview
One of the many experiences which had inspired them to work on Shrill
I think part of what had forced me to this show was that I Saturday Night Live got. and I thought, "I did it, I did it, I have the dream!" And then I got there, and I took pictures with my castmates, who are smaller women, and they have 50 clothes options, and I would arrive and I would have two, and they both looked like the mother of the bride wear – and I was 25 years old.
I just felt that this was not fair, and it's not my fault. I came here. I did my job. I'm funny. I wrote myself the path to that position, and now it's a stylist or magazine or whoever is responsible, it's their job to attract me and my age accordingly. Those were the moments when I was like this: "I want to talk about it."
On the Known Experiences in the Memoirs of Lindy West
I think one of the things about the school for me was that I really learned to be nice to everyone and everybody likes me. And I think in many ways, I've spent a lot of time unlearning that, if that makes sense. I think I thought that survival would be the friend of each individual and the attempt to be liked. For example, here I am prom, I'm Prom Queen, but I hated myself. So it's not like I'm looking back at it like, "Oh, my beautiful prom night!" I just remember wearing a strapless dress and the whole night I was like "My arms are so fat" and that is my most important memory of that time.
At SNL Audition
It's incredibly nerve-wracking and I honestly could not eat, I could not sleep, I was so nervous. I was really lucky that Lorne [SNL Executive Producer] and some other manufacturers came to Chicago and saw my Second City Show. And that's how they saw me, and they had seen comedy for two hours, and I was really happy when I knew I had only five minutes left. I said, "Well, they saw me in front of an audience and they saw how I did what I'm most proud of."
It's really intimidating. They stand in the place where the host makes the monologue, a sort of center point. We call it "Home Base" and you only make five minutes. I was really warned, "You will not laugh, just do not expect laughter, you just have a kind of plow."
I laughed, and I thought, "OK, I can, I can stand it!" In a moment it's over. And then you go away and you're kind of like, "I guess I did it, it's over." I really thought, "OK, I auditioned for SNL and then I go home, and what a cool experience! That's it, now it's over." And then it was not like that.
About the technical aspect of SNL
One of my favorite things about SNL So technical is it. And I think people underestimate when you see the greats of SNL they have a great technical understanding of what's going on, because it's really about [how]. You have to hit your markers and [how] you have to look at the correct set of cards, and then you see another set of cards for that shot, making it look like you're looking at the person. You're really tracking things on four different levels, which is your comedy performance, but then you know you're in front of the camera with the right camera, and then you're reading things and tracking your eye line. It is extremely extremely technical. And I love that part.
Why SNL still uses cue cards
We sometimes write the sketches during the sketch around . … On our last show, we had a sketch where they took out cards while we did, to … take two minutes to make sure we could get the sketch up in the air. I think the feeling is that if you did it with telepromptors and if they went down for some reason or if there was a mistake, what do you do? The cards have become very reliable. The people making the cards are incredible and the way they move them is incredible and it's really a beautiful dance. …
Read many times [cards] live on air for the first time. But now are my favorite times. I think it really scared me, but now it's like I'm finding it particularly exciting, and there's some kind of energy in the air, where everyone knows we'll make it. Will we land this plane? And there is nothing better.
Heidi Saman and Mooj Zadie produced and edited the tone of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey have adapted them for the web.