Colman and I are friends, so I wrote a script for him. We don’t usually write scripts for celebrities, but because he’s playing this hyper-realized version of himself, I wrote a script specifically for him. I wanted her to go head to head with a man, which she never really does. I needed somebody who’s a good actor, who can go toe to toe with her and won’t back down. Colman is perfect.The scripted version [of the sketch] is like three pages: a basic setup, intro and a couple of the jokes.
When I start singing “Wade in the Water,” and he starts harmonizing and he sounds so beautiful, it actually made me laugh. I mean, why would he even join in this? He did such a good balance of fighting me, but also playing along. That’s what it really takes to do that sketch. You can see my back kind of doing this [shaking slightly] and it’s because I’m trying to hold it together.
But we don’t break on the show, at least that the audience will see, but I think it’s obvious when we’re on the edge of it. We have the advantage of editing the show for months and figuring out how to craft each moment, but we don’t do it so much that that spontaneity is lost. We leave room [for audiences] to play the game of Was It Improv or Scripted? People would be shocked because there are so many moments that were improvised moment, that never hit a piece of paper.
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