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There was a Burger King in Hamilton, N.Y., where Colgate is, that had three sizes: Small, Medium, and Liter. I would go in there and order a large. And they'd say, 'We don't have large; we have liters.' So they'd make us order liters of cola, which I found to be just anti-American.
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A lot of comedies in the 1980s and 1990s had all these colors and were so brightly lit. But John Landis had this dark style, like a Scorsese film.
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The smartest thing a filmmaker can do is to become a good editor.
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We shot 'Super Troopers' on the side of the road in the summer in Poughkeepsie.
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I always feel like any criminal who doesn't have a mask on is dumb: particularly the ones who don't realize that all mini-marts have cameras. I find that so hilarious. Or bank robbers without a mask. You're like, 'Have you seen no movies?'
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'Spinal Tap' influenced me, I think, specifically in making me really pay attention to tone.
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A lot of the original people on 'SNL' came through Chicago - and Toronto, I'm sure - but Chicago was the center of it all. When I was there, Chris Farley - I knew him; we hung out and stuff - he went off to 'Saturday Night Live,' it was like, 'It's possible to be from here and make it.'
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I've come to the realization that you can entertain people both through making them laugh and making them feel. You can be quiet, and they can feel, and you will have scored as well.
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We've always had a philosophy that we would always go wherever the joke is.
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I would never be comfortable with an edited name. I have never hidden the fact that I am of Indian origin.
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Occasionally, we would shoot something and think, 'This is it; we are over the line.' But the test audiences didn't have a problem with it.
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What I've found is that humans do laugh at the same things everywhere.
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A lot of people come from small towns, and they come here wondering 'Can I really make it in Hollywood?' When I went to L.A., I knew I was going to make it. There's no doubt about it. Why? Because I'm from Chicago!
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I think there's a pedigree that comes with being from Chicago that gives you some cache outside of L.A. and New York, where, frankly, most of show business really is.
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I actually like and love Chevy Chase.
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I am convinced that tough villains help make a comedy sparkle because they provide a contrast to the funny guys.
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Filmmaking, at the end of the day, is really - in addition to the story and all of the equipment and the actors, it's really about time management. And so the smartest filmmakers are the ones who sort of pre-visualize the film in their head and are literally shooting the shots they need to cut the story together.
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I have always felt a comedy's story is undercut if you have a villain who is not really menacing.
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If you want to provide for your family, maybe show business is not a high degree of success. You will need to keep your day job until you make it, and know it's an odds thing just like the NFL. I personally wouldn't recommend anybody to go into this business.
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I did a lot of standup from ages 19 to 24 but then stopped to focus on sketch with Broken Lizard.
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Violence is totally accepted in this country.
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If you hang around people from L.A., they're, like, used to having their city being maligned.
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The funny thing about any cop uniform is that people will do what you say when you're wearing a cop uniform.
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One of my random skills is I have a very strong memory for dialogue and moments, and I don't know why.