Comedy Quotes
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The rules I go by are: Always keep your villains bad, and keep the plot grounded and real. If you keep those stakes, the comedy will bounce off that and work.
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There is even - as with no other game - a fascinating detective literature, a wry commentary on the human comedy, implicit in the book of rules.
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The thing with physical comedy is that you have to actually try to do the thing you're trying to do - you can't fake it.
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I remember 'The Cosby Show,' but that was something completely different. Comedy. There was a lightness to it and a sort of unrealistic perfection.
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I majored in extracurriculars, honestly. I joined the Harvard Stand Up Comedy Society, which is a ragtag band of misfits. I wrote for 'On Harvard Time,' which was a student TV show trying to be 'The Daily Show.' And I wrote a humor column for 'The Crimson' starting my sophomore year.
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I remember reading Dave Barry for the first time and being like oh my God I can't believe you can do this. Watching Mel Brooks and Monty Python and SNL and all that stuff really informed me as a writer and then at high school I started a satire magazine and the college like The Lampoon really introduced me to like you know a lot of very like-minded people who really wanted to like comedy was the center of their lives.
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The most fun I ever had on a movie was working with Albert Brooks. He's the caviar of comedy. I mean, nobody's funnier; nobody is smarter than Albert Brooks.
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People complain that joking about serious subjects is 'making light' of them. Isn't that a good idea? Comedy lets the air out of the bully's tires.
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Someone once described me as the Zelig of comedy, and I think I know what he means.
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I love comedy. Comedy is one of my favourite things to do.
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For comedy, timing is key.
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I'm at least getting my foot in the door as far as doing straight dramatic parts, which no one would have ever considered me for in the '80s. I never objected to that because I love doing comedy, and I'm not the kind of actor that insists that unless you're doing a serious dramatic role, you're not acting.
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One day in '61, I was looking in the Santa Monica phone book for a number, and there it was: Stan Laurel, Ocean Avenue in Santa Monica. I went over there and spent the afternoon with them. And pumped him with questions. I must have driven him crazy. I spent a lot of happy hours at Stan's house on Sundays just talking about comedy.
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Many improv groups give off the same positive annoying vibe that I associate with Christian Young Life groups with shows that more resemble children playing than a comedy performance.
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Comedy has sort of been my life-long obsession. I literally obsessed over comedy. I really didn't play sports - for me it was just comedy, computers and chess club; those were my big things.
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I was thinking about comedy and how comedy in many ways opens us up to ideas and really being influenced by Richard Pryor and sort of the way he would use comedy to really speak about larger social issues.
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I think I have always tried to connect my comedy to my art.
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An actor must communicate his author's given message--comedy, tragedy, serio- comedy; then comes his unique moment, as he is confronted by the looked-for, yet at times unexpected, reaction of the audience. This split second is his; he is in command of his medium; the effect vanishes into thin air; but that moment has a power all its own and, like power in any form, is stimulating and alluring.
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Part of why I think I have so much fun working in the mockumentary genre is that you can cut to pretty much anything at any time. People are now so conditioned to watch documentaries - they know how they operate, and that you can introduce a new character by cutting to them, and now they're in it. Similarly, being able to treat a sidebar idea that has nothing to do with your main story really seriously, the way the rest of it is being treated - all the pomp and circumstances lend themselves, I feel, to making comedy feel really earned and funnier and weirder.
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You know, stand-up comedy is where I pretty much started out.
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People talk, 'Oh your father's a misogynist, look what he said about women,' like, on 'Howard Stern.' When he gets with Howard Stern, who's a friend of his, he'll joke around, because it's a comedy show. He's allowed to have a personality.
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The irony is that we're really good at comedy in Britain, but for some reason, we make very few comedy films. And when we do, they're either quite American in style, or very Richard Curtis. And I like Richard Curtis, but I think only Richard Curtis should write Richard Curtis films, and other people should try and find their own style.
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You know how hard it's been to write material? Because to do stand-up comedy, it takes time for the material to develop. So you'll come up with a joke, you'll tweak it, you'll work it for six months, you really fine tune it, and now you've got a good bit. Well, with Trump, every day there's something new coming out.
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I've done history; I've done biopics, I've done a little bit of comedy. I just want to keep going and show people that you can't typecast me, you can't pigeonhole me.
