Joel McHale Quotes
Quotes to Explore
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To me, a bag in a tree is like a flag of chaos, and when I remove it, I'm capturing the flag of the other side. In the end, it doesn't matter how ironic or serious or even effective on a larger scale bag snagging may be.
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When you a darker brunette and have pale skin like I do, it can wash you out a bit, so learning to contour is really helpful. I think you can be a bit more bold with eye makeup to define your eyes, and the same with lip colors - you can go for dark wine colors, which I love.
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I want to have fun. I'm not interested in being a serious actor, because I think it's boring, and I think we've got plenty of them.
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Reparations, I believe, are talked about for political reasons, trying to cater for the purpose of getting votes. If Congress was serious about reparations - in '93 and '94 the Democrats controlled the House, the Senate and the White House, and not one single Republican vote was needed for reparations.
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I am trying to do comedy on every single medium. I consider myself a public servant.
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I try to take normal things - whether it's a serious subject or something as obscure as a piece of toast - and put a very weird twist on them.
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Flamethrowers have been used by many armies in many wars, including by American Marines in Korea and Vietnam. They cause horrific deaths and are thus a serious public-relations liability. The U.S. military apparently phased them out in 1978.
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I don't just want to be a cute girl in a comedy or the actress who just does the same thing over and over again. I want to play roles that are distinct. I want to have a more varied career like actresses Viola Davis or Angela Bassett - those are the people that I grew up watching and admiring.
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I like romantic comedy as a genre, but I think it can get stuck in its ways.
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When I watch a romantic comedy, I feel like they're selling something that doesn't exist. Two beautiful, but extremely unpleasant, people are terrible to each other for an hour, accidentally kiss, then decide to like each other during an extremely vague montage. That isn't how people fall in love.
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I think that comedy really tells you how it is. The other thing about comedy is that - you don't even know if you're failing in drama, but you do know when you're failing in comedy. When you go to a comedy and you don't hear anybody laughing, you know that you've failed.
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The development of the New Architecture encountered serious obstacles at a very early stage of its development. Conflicting theories and the dogmas enunciated in architects' personal manifestos all helped to confuse the main issue.
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If you're looking to be loved for a part, it's great and enticing to be adorable in a romantic comedy. But then, as an actor, you get stuck.
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My dad was a serious alcoholic, and ultimately, that's why he died. When you're a child of someone who struggled with things like that, you look for the common thread. Is there a pattern? Is there an inheritance of pathology in some way? That haunts me.
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Comedy requires a lot of energy.
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I used to do a lot of comedy. I don't know what happened. I think it's my face.
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The words we use have weight. Whether it's in a conversation with a friend or something said publicly on stage or broadcast. And as performers, we know that because that's why we choose the words we use - that's the whole point of comedy.
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I'm a pretty easygoing person, and it bleeds into the music. Even if I'm writing the most personal song, it's not going to come out totally serious; there's always a little tongue in the cheek.
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I mix talents and friendship, which is not very professional, but it's my way of thinking. So I love Azzedine Alaia, because I've known him for 30 years, and he's making my dresses most of the time.
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Of course I want to have a deliciously seductive story on the surface which will keep people engaged and amused, but primarily, I'm interested in other things. It's the texture of any given moment that fascinates me: what is really going on between people or in somebody's mind.
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I dubbed for 'Nannaku Prematho' because in that film, I was doing a London-based character, and even if some mistake happens with pronunciation, people would excuse it.
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Success is a very tough mistress. For years, while you're struggling, she wants nothing to do with you. Then one day, you find yourself in the room with her, and even though the key is on the inside, you can't leave.
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I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.
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The #MeToo movement is insanely serious, and there's no comedy to be mined out of that.
