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The only way physical comedy works is if you don't see it coming. And the harder the fall, the funnier it is. You have to really take some shots, and I've walked away with some bumps and bruises.
I'm not a big comedy show-watcher, but I love Ricky Gervais' stuff and Sacha Baron Cohen's things. But I'm not an expert on them. I've seen them once.
In Australia, I'm built up as this comedy hero, which was never my intention.
I'm into comedy, stuff like 'The Office,' 'The Royle Family,' 'Only Fools And Horses,' 'Bilko,' that sort of stuff.
It sounds gross to say that I like myself more. But not everyone likes themselves that much. Especially in the comedy world.
American television constantly tries to co-op British comedy and create their own version of it. Most of the time it doesn't work; obviously, in the case of 'The Office,' it did. But a lot of times, it doesn't really work.
Comedy club audiences pay up to $25 per person and another fistful of cash to cover a two-drink minimum, so when they don't like something, they let you know - with silence.
The goal of almost every comic is to find a comedy voice - a specific point of view that an audience can latch onto.
With stand-up, there's a little bit of an exaggerated reality because things have to be manipulated to create comedy, to create jokes.
The goal is doing stand-up on TV somewhere, which is what I'm working on. Something on latenight or Comedy Central, but - I dunno, something. It could happen, it could not happen.
I enjoy doing everything, comedy and drama. I just look for the characters really and what they offer.
I did comedy and parody television in the '70s. I was a liberal Democrat, and it was a very heady year.
Our first gig was a battle of the bands. We did 45 minutes of comedy and never played a note - and we won!
To do a comedy team, it requires so much extracurricular stuff, so much compromise, so much intuitiveness to know what the other guy is doing. That's why it's so hard to do it.
I was doing a lot of drama until I took the comedy role in the series 'Car 54, Where Are You?,' and I've been tagged as a comedian ever since.
When I started out, I wanted to be a serious actor. I never thought I'd get into comedy.
I wanna do some more goofy comedy stuff; I really enjoyed doing 'A Touch of Cloth.'
Misery is the stuff of comedy, if one can just live long enough to get over it.
I'm trying my hand at writing. I'm writing a couple of projects for HBO, a half hour comedy and a miniseries.
I like to play the comic relief or parts that aren't necessarily comedic but that I can find the comedy in.
We're going to continue to focus on family comedies because that is something that our audience really comes to ABC for. But at the same time, we're going to push the boundaries of what a family comedy actually means.
Jimmy Kimmel has proven to be a preeminent voice in comedy, with 15 seasons of 'Jimmy Kimmel Live' under his belt and successfully tackling the herculean task of hosting both the Emmys and the Oscars in the same season.
My drama instructor suggested I try comedy. I was resistant at first because I considered myself a serious actor, but of course I fell in love with it.
In 'Pictures from an Institution,' Randall Jarrell was able to transcend the academic novel by simply ignoring it, writing a comedy with no plot at all beyond his own pleasure in language and humanity itself.
I like comedy a lot, and dramatics show how I can really act. Because a lot of people can do comedy - I'm not saying it's easy, but dramatics are very hard.
Part of being a mother - part of the comedy of it, anyway - is what happens to your body.
Unfortunately, it's the new normal to get divorced - and divorced with children is its own soil rich with land mines. There's a lot of comedy but a lot of heartache, too.
I was drafted and went to Korea where I had an opportunity to create a production team that did dramatic and comedy shows. I had also done a little disc jockeying.
Instead of going into politics, I decided to go into comedy, which is the second most daunting career path for a woman.
It's certainly strange to do sketch comedy with cue cards at midnight in a skyscraper as opposed to in a basement with your friends.
Before I got addicted to comedy, I was seriously thinking about playing tennis full time. I joined the tennis team and played with a lot of professionals.
I was imagining films in my head and trying to gather friends together to make movies since I was a kid. I tried to do comedy skits and a horror film.
I feel like I came in comedy's side door, and still feel very fraudulent in many ways.
I've seen too many comics who got their own shows and were undone because they worked for an executive producer who didn't understand their comedy or their sensibility.
I think the hardest thing to do in the world, show-business-wise, is write comedy.
I was taught by a lot of great comedy writers to go for the reality in a role, and the comedy will come through.
I think I've definitely found a niche working in comedy, but dramatic films are what brought me here. After I saw 'Titanic' in the theater, I got the bug.
After doing comedy for a while and knowing how hard it is to do physical comedy right, I learned how incredibly talented the Three Stooges really were after re-watching old episodes. They still stand up!
I started out with comedy in college, but had my major in Recreation Administration - which meant I wasn't going to get a real job - so I started doing a little standup.
The beauty of comedy is, when people come to a comedy club, there is a certain veil of reality suspended.
When somebody says that a comic steals jokes, it's the ultimate betrayal of comedy.
My sister would write plays, and I would act in them and perform them for my parents. They were on the comedy side, very much inspired by 'The Amanda Show.'
You can get away with making some extremely bold statements by Trojan Horsing them into a narrative via comedy.
When I knew I wanted to write a novel that would be a twist on a conventional romantic comedy, I re-watched 'When Harry Met Sally,' as well as the other two films in the indomitable Ephron trifecta - 'Sleepless in Seattle' and 'You've Got Mail.'
When we first started, everything was animated, everything was comedy, and there was really nothing that was longer than about two minutes, because that's all audiences would watch.
I wanted a half-hour, single-camera comedy with a great lead where I could be No. 2 or 3 on the call sheet, and it was going to get on the air. Those were my criteria, and they sent me 'Cougar Town.' I read it and loved it.
Between us and the writers, it was comedy hour the whole time. We could hardly get through it.
All comedy does that. Every comedian I can think of - Larry David, Seinfeld, Mel Brooks, Chris Rock - that's where the best comedy comes from, from stereotypes.
Why do we laugh at such terrible things? Because comedy is often the sarcastic realization of inescapable tragedy.
Comedy is surprise. Comedy is not something that you can, necessarily, do twice.
I've always felt that in a comedy script the stage directions should also have a comedic value.
Is it spoken word? Kinda, but that's a weird area. Is it comedy? Well, it's funny but no, it's not comedy.
Playing Chelsea on 'The Suite Life of Zack and Cody' really helped with my over-the-top comedy.
I don't like swearing on the air. As a matter of fact, I'm not a prude, but... I watch HBO and some of the comedy stuff, and I'm constantly asking myself, 'Why have we gone there?' It seems like it's unfortunate. It's so cheap. It's so easy.
I wanted to be a vet before I got into comedy, but then once I found out how much gore goes into that job, I wanted nothing to do with it.
I didn't want to write sketch comedy after 'Mr. Show.' I felt like, after 'Mr. Show', why would you want to go work at any of the other places that existed then?
I'm doing a pilot for Comedy Central with the band Steel Panther. They're faux heavy metal. They started as kind of a tribute band out here, or a cover band, and they're funny guys, and they just sort of morphed into their own thing.
It's almost like a self-fulfilling prophecy: the great comedy that comes from great pain.
I want to do comedy, I want to do horror, I want to do all these other things.
At the end of the day, stand-up comedy is like acting when the audience are the other characters that I'm acting with.
Comedy is all about the character. When you're too focused on the gags, the character suffers, and you don't get the laugh. Comedy has to come from the character.
I think comedy is incredibly discriminated against. It is one of the most enjoyed yet most condescended art forms in the world. It's the same thing with hip-hop.
One of the things I was taught was how you deal with language. It's important, very important in comedy.
When I played Imunique on 'Love That Girl,' that was on the other side of comedy - loud and out there.
I see myself as a performer and that applies to a Greek drama or a modern comedy.
I've never heard of a comedy that hasn't had reshoots, especially for the ending of a movie in a comedy.
I definitely am a huge lover of comedy, and it's only through doing so many comedies that I've realised how much of an influence they've been on me.
I don't want to do the same thing all the time, and I was thrilled to bits to do a BBC comedy. It's the home of British comedy.
I first started as an actor, but there was no money in it, which is why I drifted into comedy.
Doing comedy is very difficult and if you do it perfectly you can do any kind of roles.
I think you're born with a comedy gene, and you can't teach timing, and you can't teach satire, pathos.
When you're the mom in a big family comedy, you have to get your personality when you can.
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