In the latest of our ‘Creatives in Profile’ interview series, it is an honour to introduce you to Karen and Michael Healy – the brother and sister duo behind the award-winning original comedy production company, Pondering Media.
Karen Healy is Pondering Media’s founder, CEO and perennial lead performer. Her work on Pondering’s award-winning shorts has earned her strong press attention, including write-ups in the Irish Post. Her credits include RTE’s IFTA-nominated Irish Pictorial Weekly, numerous roles with famed immersive theatre company Reuben Feels, and countless other adverts, shorts, and performance art pieces. She’s also a fixture in the London stand-up comedy scene. Karen is a passionate advocate of women in the arts and is a big supporter of recently launched Bechdel Theatre Festival in London.
With a background in marketing, Michael Healy has helmed numerous projects for commercial clients over the last five years, as both writer and director, including commercials for radio. With a focus on comedy, his online shorts have attracted press attention in both the UK and Ireland. He holds a first class degree in Film Studies from Trinity College Dublin and Would You Like Some Toast is his debut cinematic short.
Founded in 2014, Pondering Media has gone from strength to strength – building a reputation for the weird, the eccentric, and the sometimes upsetting. You can check out their videos on Youtube, and follow them on Twitter here. We hope you enjoy this detailed interview…
INTERVIEWER
Tell us about yourself, your background and ethos.
PONDERING MEDIA
Michael – I’m Michael, I’m a writer and film director working mainly in comedy. I come from a background of hopeless, awful, soul-destroying marketing work. And I guess my ethos is to have a unique voice, but to put the audience first. I want to avoid self-indulgence, and also avoid ever working in marketing ever again.
Karen – I’m Karen, I’m a producer, actor and new to the scene stand-up comedian. I come from a background of dropping out of college and happily working tearing theatre tickets, selling ice-cream and pointing out where the toilets are. I suppose my ethos is depicting entertaining, strong female characters. I’ve never been drawn to roles in which the character’s main function is “the girlfriend”, which is very difficult to come across. Michael and I are on the same page when it comes to what makes an appealing character and we share the same sense of humour, which is great.
INTERVIEWER
Have you always known you wanted to work in comedy?
PONDERING MEDIA
M- You know, I didn’t really set out to be a comedy specialist right away. Like most obnoxious filmmakers, I wanted to make heavy stuff about the grim realities of life that only middle class college students ever understand. But my natural response to basically everything dark in life is to laugh. Funerals, wars, executions – all full of awkward hilarity. And when you’ve got that kind of pathology about you, you’re stuck in comedy forever.
K- I knew that if I ever decided to get back into performing it would be in comedy. I think it’s my default setting. It comes naturally to me to always see the humour in a scene, regardless of its premise. Nothing beats the buzz on a set where everyone is laughing. And who doesn’t like playing with prop moustaches?
INTERVIEWER
Who inspires you?
PONDERING MEDIA
M -Fellini is my stock fancypants answer to this question (not sure how fancypants you guys want to get). He’s one of the few artists that managed to be both absurd and extremely human. I also go back to Roy Andersson and Aki Kaurismaki as comedy directors all the time. Both masters of depicting sublime, painful failure in comedy.
K -I just finished watching Horrace and Pete and was totally blown away. I think Louis CK is incredible at creating socially important conversations and fairly representing all sides of that particular argument.
Ilana Glazer and Abbi Jacobson of Broad City are two heroes of mine at the moment. They have created a very funny show that depicts an unwavering female friendship and makes little to no reference to relationships or career-pressure. Hurrah!
INTERVIEWER
What are some of the key challenges facing aspiring artists – particularly comedians – today?
PONDERING MEDIA
M- Actually, I think aspiring artists have more advantages today than artists have had in the past. It’s easier to network, easier to create, easier to find a platform. I think artists are usually their own worst enemies, and I include myself in that. I’ve found producers and executives are quite open to giving people opportunities – but they want to find organized, audience-focused people and have no time for self-indulgence and daydreaming. Which sucks, because those are great craic.
K- I can only speak from my experience but at the moment there’s such a huge platform for comedians who are starting out. You will find an open mic every night of the week in London which is great for practice. The only thing is it can be mildly soul-destroying. Most of the people you performing to are other comedians waiting for their turn. It’s a good idea to keep an eye for any competitions for new-comers. “Funny Women” are a fantastic organization who provide support for new female comics.
INTERVIEWER
Could you tell us a little about Pondering Media, and how you established the production company?
PONDERING MEDIA
M- Karen and I were both drifting from gig to gig, her as an actor and me as a writer, and at around the same time we both realized we needed a proper plan and a bit of direction or we’d never get anywhere. So we got organized, started handling our own corporate gigs, published some stuff for the web, had a couple of viral bits do well and now we’ve just wrapped on our first full, cinematic short. All inside a year or so.
INTERVIEWER
Are there any projects or films you’ve made that you are particularly proud of?
PONDERING MEDIA
M- I gotta be boring and say the film we just completed is my favourite. We had a bigger crew than we’d worked with in the past and the whole process was a huge learning curve. Seeing it finally get proper laughs from audiences is the best feeling in the world.
K- I have to agree. I’m very proud of how “Would You Like Some Toast?” turned out, majorly thanks to our producer, Richard Wade. He gathered a brilliant cast and crew and it really is a credit to them as it was made on such a low budget.
INTERVIEWER
What are the key differences between performing on stage to a live audience and performing to a camera? How do you adapt your performance depending on the different medium?
PONDERING MEDIA
K- I have more experience acting on screen so performing on stage for me is still pretty daunting, but exhilarating at the same time. I think you have to be aware of adapting your performance depending on the atmosphere in the room and the general reception you’re getting from the crowd. In stand up anyway.
As for acting on screen, sure there’s room to try something in several different ways but there’s almost just as much pressure as you’re often under time constraint and everything is heightened on screen. You can’t fake it when the camera is fully zoomed in on your face.
INTERVIEWER
A lot of comics and spoken word artists talk about a fear of ‘dying’ on stage – has that ever happened to you, and how do you cope with the fear of that happening?
PONDERING MEDIA
K- There is always the fear of that happening. I don’t think that ever goes away. Some jokes could land well with an audience one night and could be greeted with bemused silence another. I had a gig recently where I completely bombed. I was half way through my set and I realized this was not gonna get any better. But I gave it my all, finished it and bowed. I was obviously slightly disheartened afterwards but woke up the next day singing, “I BOMBED LAST NIGHT!” That’s when I really felt like I was doing stand-up. You can’t grow as a performer if you don’t have the occasional crap gig.
INTERVIEWER
For you personally, what makes a ‘good’ gig?
PONDERING MEDIA
K- I think when there is a happy, up-for-it atmosphere it makes performing a lot easier. When the audience gets on board with immersing themselves in the night it feels more like you’re having a chat with them rather than talking at them. I’m delighted whenever something new gets a laugh, that way I can go home and expand on it. I’m also relieved when I manage to not burst into flames.
INTERVIEWER
What is comedy for?
PONDERING MEDIA
M- Comedy’s all about exploring the parts of our lives that don’t fit in with how we like to view the world. We like to think that we’re part of a clear narrative, with proper goals and challenges and destinations. Comedy is about showing up how dumb that idea is.
K- Comedy is an opportunity to be more honest than you would be in everyday life. Being honest is what the audience relates to, it’s what gets them on your side. Tears and laughter are one in the same. Laughter is just another form of release and that’s what comedy is for, to provide the audience with a release, an escape.
INTERVIEWER
In our digital world, with so many different voices speaking at once, how do you cut through the incessant digital background babble? How do you make your creativity – your voice – stand out and be heard.
PONDERING MEDIA
M – Slowly and steadily, and with the support of collaborators and other pros. And also, by incessantly emailing people who are higher up the ladder than us are and asking them for favours. That’s probably the most important part.
INTERVIEWER
Could you tell us a bit about some of the future projects you’re working on?
PONDERING MEDIA
M- We’re finishing up the fundraising for our next project, a short set in a political campaign hit by a sudden scandal. There’s a lot of prep work to do now, given the size of the budget and the extent to which we could catastrophically screw it up, so it’ll be a few months before we’re in production. And we also have a top secret, mad ambitious project in development too, but we can’t talk about it until we’re sure it’s actually going to happen or we’ll look sad.
INTERVIEWER
Could you give your top 5 – 10 tips for aspiring writers and comedians?
PONDERING MEDIA
M- 1. Be a professional and treat it like a job, even if that means faking it.
- Understand that producers and editors invest in people, not just projects. They want to support people who are easy to work with and have a plan.
- Have a plan. Even if it’s a crap plan. You’ll eventually figure out what a not-crap plan looks like.
- Be brutal with yourself and always think about your audience. There are no points for creative intent or grand gestures. If the audience can’t walk in and get a strong impression of you and your work right away, you’re wasting your time.
- Don’t be a diva, and treat your collaborators with respect.
K- Just keep doing it. Even if you’re dying on stage every night, just keep getting up there and doing it, you will eventually find your voice. That’s what I’m doing.
nothing in the rulebook 