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And if you can offer an explanation as to why it doesn't work then you've got to the whole root of comedy.
Keenser is a smart alien. I try to bring a little bit of comedy into it, but he's a great thinker.
The human comedy is always tragic, but since its ingredients are always the same - dupe, fox, straight, like burlesque skits - the repetition through the ages is comedy.
I would recommend that anyone who wants to do comedy on TV to do radio first.
I was depressed as a child. I found it hard to make friends. My favourite thing was locking myself in the bathroom and practising comedy routines.
When I watch a comedy that's just hitting you over the head with jokes constantly, some really hit, but if they miss, you're like, 'Eh.'
Acting-wise, I haven't done a lot of comedy, so I would love to work with Jane Lynch. I think she's hilarious.
I've always tended to write comedy, but I'd hate to just write some kind of sitcom or a lighthearted series of jokes and slapstick. I wanted to talk about some deeper things within the comedy.
I don't really dissect comedy. Nothing kills off humor more than overanalyzing it.
The odd thing about comedy is that the more personal you are, the larger the audience.
As a director, just to be able to jump in to do something that's different, and to explore comedy and be challenged by that, is great. Some directors never get that opportunity.
I love bouncing between different genres. And comedy, obviously, is something I enjoy doing the most and I've had the most success with. But I'm open to all jobs and all genres.
The first series of 'Open All Hours' came and went without much fanfare because the BBC, in its almighty wisdom, put it out on BBC2, reasoning that it was 'a gentle comedy', better suited to the calms of the second channel than to the noisier, choppier waters of the first.
The Hayemaker is a dangerous fellow who, when the bell rings, is on a seek and destroy mission, by any means necessary. No playing around. No comedy. It's just straight-up business.
There's only one podcast subject that can give Donald Trump a run for his money when it comes to vulgarity, excess, and base comedy, and that's football.
Some of the vintage comedy on Radio 4 Extra wasn't very funny to begin with, whereas some things just get funnier regardless of the changes in public attitudes over the years.
I'm just trying to give the best human expression that I can to any particular genre, which could be comedy, could be drama, could be horror, could be thriller.
Comedy is good at analysing and dealing with evil because it doesn't present it as evil but a collection of banalities.
For a romantic comedy to be three hours long, that's longer than most marriages.
Where my comedy really solidified was when Bush was elected. I couldn't understand how craven and crass he was, and how dumb other people were for electing him.
I sat there in awe that some guy overseas, trying to protect our interests, was using a silly comedy as a survival tool. My brain had an explosion. I was really moved by that.
When I was growing up, I had more comedy albums than musical ones. George Carlin, Cheech and Chong, Steve Martin, Richard Pryor - those were my main men.
I love comedy because I can laugh at myself. I don't take myself too seriously.
Comedy is a shared experience, and I think it's great to open that to a wide demographic.
I'm a stand-up comic. Anything else I do besides that is a plus, but stand-up comedy is what I do, it's what I've been doing and it's what I'm going to keep doing.
I'm not a comedian, I'm not a stand-up and I don't come from a comedy background. I am an actor, but I've had a very fortunate foray into comedy, and it seems to have become a bit of a strength, and you can't complain when you become known for something.
The people running Silicon Valley are not making the show because they want to do a satire of Silicon Valley. They are just comedy writers, and they want to make a funny show.
The number one rule of comedy acting is 'don't try to be funny.' Act as seriously as possible.
If we were making a cop comedy about bad cops or cops who were comically bad at the jobs, then the jokes would be more hijinks and more like slapstick.
I got lucky. I won the San Francisco Stand-Up Comedy Competition in 1977 while I was still at San Francisco State.
I remember doing a comedy show with Jim Carrey once, and he was out there with his foot behind his neck and rubbing his face with it.
It's harder and harder to make a well-done romantic comedy these days because the conventions have been so played out.
When I was a kid, I would make kung fu movies with the kids in the neighborhood, and I would be the guy behind the camera directing everybody, but they were all very silly little shorts and comedy bits.
'School for Wives' is Moliere's first step toward grand comedy, but he still has one foot in commedia.
The first rule of comedy should be, you must be very lazy. Whoever works should be immediately removed.
That is the problem with comedy in India. Spoofing sells. Come up with original comedy about the hilarious nation we are, with funny accents and odd rituals, and we get into trouble.
What I love about the Coen brothers - what everyone loves - is that they sort of toe the line of a truly dark comedy.
My main goal is to connect with the crowd. I leave room for improv. Whatever happens, happens. When I bring my band with me, it turns into the Craig Robinson comedy dance party.
I'm a performer. I do comedy and music, and I blend them together. My band is 'Nasty Delicious!'.
Comedy is the slave of time. What seemed funny then is unlikely to seem funny now, just as what strikes us as funny now would not have seemed funny then.
For me, comedy should have a certain amount of joy in it. It should be about attacking the powerful - the politicians, the Trumps, the blowhards - going after them. We shouldn't be attacking the vulnerable.
I think comedy comes more from a low sense of self-esteem, and I certainly have that.
I remember 'The Cosby Show,' but that was something completely different. Comedy. There was a lightness to it and a sort of unrealistic perfection.
It's a great counter to doing the soap because it's a comedy. It's real physical comedy.
As an entertainer, a comedy guy, whatever, you're never gonna be truly 100-percent happy with anything.
Even in the depths of dreadful situations, there's usually something rather comic, or something you can laugh about afterwards, at least. So, I do look for the comedy in those things.
Before I went to a meeting at the 'Harvard Lampoon,' I had no idea that there was even a comedy magazine at Harvard, let alone that you could write comedy potentially for a living.
I've played at the Comedy Studio. I never did as an undergrad, but I have in recent years, whenever I've gone back to anything at Harvard, I've tried to go there and do some sets.
Comedy is such a personal thing. Everybody can cry at the same thing, but it's a lot harder to get everyone to laugh at the same thing.
I love and enjoy vocal performance, but I also have a huge passion for comedy and improv.
I've done a lot of drama in my career, but I'm actually more comfortable doing comedy.
I do find myself surprised by the comedy shows that seem to have the same joke week in week out.
There's a lot of comedy in Intermission but it's got this depth. It's not comedy for comedy's sake - it's informed by something else. I like stuff like that.
Comedy is unusual people in real situations; farce is real people in unusual situations.
Jackie Gleason said that comedy is the most exacting form of dramatic art, because it has an instant critic: laughter.
The fact that 'A Dirty Job' has comedy and supernatural horror in it, that both are woven in and out of it with a whimsical tone, despite the fact that it's about death, makes it hard to characterize with standard genre labels - but I have no problem with that. I'd call it a funny story about death, and leave it at that.
Yeah, well I've always played comedy. My background is musical comedy theatre and that's really where my training is. As an actor, that's my training.
People think that my favorite roles to do are villains, but I find comedy to be the most challenging and rewarding.
I became an actor by accident. I suppose I figured since I was in musical comedy from the time I was a teenager, I suppose I figured that I'd always been in that world to some extent.
Comedy is an escape, not from truth but from despair; a narrow escape into faith.
Comedy is like music. You have to know the key and you have to find players with good chops.
What's interesting about Laurel and Hardy is that in most comedy teams, there's a straight man, and then there's the funny guy. And with Laurel and Hardy, they're both the funny guy.
When I was little, I had this old video camera, and I set it up, and I would pretend that I was on comedy shows and soap operas and things like that.
The only thing I would unequivocally say is that I have never had any interest in romantic comedy I just couldn't do it. I think I'd be terrible.
Fox came to us with the concept for ICE AGE and they came to us with the first draft of the script. They also gave us a mandate to make it into a comedy from what was previously a rather dramatic action concept.
Most parts in comedy, they're not really written for men. They're written for, like, these boy-men.
I don't believe I can offend you in a comedy club. I don't believe I can offend you in a concert. A comedy club is a place where you work out material; you're trying material.
When I started out in comedy, it was common knowledge that it took about 10 years to get good. And that was okay because it took you about 9 years to get on television.
Georgia was a great place to live, but I wanted to get out because I knew the opportunities for what I was doing - stand-up comedy and eventually acting - were in Los Angeles.
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