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One of the things that makes any good entertainment, whether it's a play, drama, comedy, television, film, whatever, is that you feel a certain amount of spontaneity.
Only recently - about five minutes ago, relative to the long-running human comedy - have parents been driving themselves to distraction by taking too seriously the idea that 'as the twig is bent the tree's inclined.'
There is no essential difference between the material of comedy and tragedy. All depends on the point of view of the dramatist, which, by clever emphasis, he tries to make the point of view of his audience.
In life, there's a ying and a yang and a balance. And when you don't have balance, you have comedy.
There is a strange sort of reasoning in Hollywood that musicals are less worthy of Academy consideration than dramas. It's a form of snobbism, the same sort that perpetuates the idea that drama is more deserving of Awards than comedy.
I actually started in comedy, but then after 'Deadwood' I started concentrating on the dramas more. But then I just got tired for raping and killing and figured, 'It's time to do another comedy.'
I like to spoof the original Gothic classics, so there is also good dose of comedy in the 'Parasol Protectorate' - giggling readers are good.
If you are not on TV, you don't really exist. I want to bring my comedy to the world and tell my story to a bigger audience.
Americans don't like puns and plays on words, which is totally opposite in the comedy world to France or even Italy and Germany.
In a comedy, after the day is done, you can figure out ways of how to make it even funnier for the next day. In dramas, it's very different - the mindset that you're in.
I'm a comedian who happens to be Latino. What's the difference? The difference is, my special will air on Comedy Central, not Telemundo.
Maybe 10 times a year I'll do a corporate date, but no casinos or no nightclubs or no comedy clubs.
My first improv was Second City in Chicago. Before that, I worked at - with a partner, doing comedy sketches.
The move into adult comedy wasn't so much moving away from 'The Wonder Years' as expanding myself as a director.
When you talk about a character on a situation comedy, it's not just the actor. It's the writers, too.
I really used to like TVMaxwell, which is a classic, amazing, super-underrated comedy channel. And Cyndago was great.
I'd actually love to do more comedy, but what I really wanna do is an indie drama - an intense indie road-trip movie.
In studio films, everything has to be boxed in, everybody needs to know beforehand - this is comedy, this is sci-fi, this is drama - and what's the point of independent film if you don't get to experiment?
My favorite actors are Jim Carrey and Chris Farley, Tom Hanks, Robin Williams. Robin Williams is the best - to be able to do all that comedy but also be heartbreaking.
There aren't a lot of roles in comedy for women of a certain age to play, especially with a 22-year-old.
Strangely, Dante's Divine Comedy did not produce a prose of that creative height or it did so after centuries.
I can't do comedy that is cutting and vicious. If I knew I'd said something that was going to make someone feel bad, well, that supersedes everything.
I would love to work with Sir Anthony Hopkins. How and why that would happen in a comedy I'm not sure - why he would be dragged over to my side, or I'd be be dragged over to his side.
Comedy clubs were something that came to pass in the '80s, but toward the end of that, in the early '90s, people started doing comedy again in alternative spaces.
I play these sort of comical instruments I invented, like the electric rake and the electric plunger. I do a lot of almost stand-up comedy material. Just the juxtaposition of the different styles in itself sometimes is funny. Like, I do sort of an acoustic version of 'Purple Haze' that has some bluegrass licks in it.
Nobody should try to play comedy unless they have a circus going on inside.
My inspiration to do comedy came from many places. Saturday mornings, I would watch Bob Hope and Jerry Lewis movies. I later got into watching stand-ups like Eddie Murphy, who was my main inspiration.
Together with script writers Sid Green and Dick Hills, we worked on the comedy ideas for this series.
Life is a comedy when watching and a tragedy when experiencing. I try and share anything I have.
I don't really know how music and comedy are similar. I try never to dissect it theoretically or academically.
From 'Chappelle's Show' to 'Tosh.0,' there's so much race comedy. It's overdone.
I think my strongest suit is comedy. I certainly have limits in other areas.
I like very dry humor. I don't like things that are over the top. I like subtlety. I like things that are nonchalant. I like characters that are sort of monotone and based in dark comedy.
There's a great deal of echoing going on in 'Old School.' Mr. Piven, who played the upstart outsider in the 1994 campus comedy 'PCU,' has crossed over into playing the stiff martinet.
The pleasantly crude 'Hall Pass' reminds us of what's been missing from movies: Those squirm-inducing moments in comedy that produce enough discomfort that, at points, what we're watching is half a heartbeat away from a horror film.
The Comedy of Emasculation that Judd Apatow and his disciples have made into a separate economy was invented by the Farrelly brothers, 'Kingpin' being the strongest version of that.
There's obviously a lot of tragedy in comedy; I really enjoy the paradox of what a really good comedy is.
I joined an improv comedy group. Ours was named 'Quick Fire!' with an exclamation point. It was when I auditioned for that team and got on it and felt like... I'll just say I felt like I was good at it.
I love physical comedy. I love Oscar Wilde, I love Shakespeare comedies, I love improv.
I'm not a particularly shiny, happy person. I'm fairly cynical, and that's what draws me to comedy.
I would love to do a dramatic comedy. All of that, it all interests me. At some point I want to do my 'Monster,' like Charlize Theron, so I'm buckling up for that.
For me, comedy is a day-to-day report on the human condition. It's what's happening right now. I get maybe 20 minutes of my act straight from the newspaper.
I've been in the director's chair for 'Battlestar Galactica' since its first season. I directed the only comedy that's ever been done in Galactica history.
I mean, sometimes... a comedian becomes an actor, and they just don't deliver, because the bottom line of comedy is to be funny, and the bottom line of acting is to be truthful, and they get that mixed up sometimes, or don't even notice that that's the thing.
I felt audiences are happier to take comedy people who play darker people because there's a link between the psychosis of comedy and the psychosis of being a twisted character.
Well, comedy is a great weapon of attack. It's not a great weapon of support.
I used to do a lot of comedy. I don't know what happened. I think it's my face.
My favorite genre is definitely romantic comedy. I love 'When Harry Met Sally.'
I just liked stand-up comedy so much. I used to memorize Bill Cosby albums and other people's albums, George Carlin, Flip Wilson.
Journalism is straying into entertainment. The lines between serious news segments, news entertainment, and news comedy are blurring.
I am a big fan of the TV series 'Taxi' which combined comedy and pathos better than any other show I've seen.
I love comedy; I'm super passionate about it, and thank God it's super in right now to have female empowered comedies.
Yes, I was hired by Universal because they needed a comedy director. They had seen Scandal and liked it. I saw an opportunity even in those comedies to begin my project of American films.
I had no musical or athletic ability, and I wasn't particularly good looking. Comedy was something I could do for attention.
There's a fraudulent root element of comedy in that we say things night after night as though they are rolling effortlessly from the brain and off the tongue, when in fact they are crafted over weeks and months and years.
I think it's probably much easier to do political comedy from a two-party point of view, in that the majority have some sense of what it means to be one or the other.
I was really more interested in dramatic work, but I thought, 'Well, I guess I could do comedy.'
I've been very fortunate. I've been in theater, films, television, radio, tragedy, comedy, farce - I've been in a musical and in music halls, in pantomime. I was once ringmaster in a circus.
But I just think I was lucky enough to figure out early on that I wanted to do comedy, so that's what I put all my effort into.
I find it pressurising coming to the Voodoo Rooms to do my hour of comedy.
Edinburgh is the most pressurised environment to do comedy. You get an hour. There's no compere. You'd better be on the money straight away; you've got journalists in.
I learned everything that I know about comedy and about show business and a lot about life from Carl.
I did a 'Golden Girls' once, which shot in front of an audience, and that went well. I had a good time. But I need an audience, for comedy at least.
I do miss the rhythms of comedy. And I've never been able to perform very well without an audience. The sitcoms I've done had them. It was like doing a little play.
Drama or comedy programming is still the surest way for advertisers to reach a mass audience. Once that changes, all bets are off.
I had to choose, I'd be so sad. They are flip sides of the same coin. I love both comedy and drama.
Years have passed since I have set foot in a comedy club. If the comic is doing badly it's painful, and if the comic is doing brilliantly, it's extremely painful.
I always say, 'Thank goodness 'Wimpy Kid' was a comedy because my singing in that was more humorous than professional.'
The comedians all finished their acts with a song. They would get a certain amount of money from the song publishers and would use that money to pay the writers. None of them paid very much for their comedy material, but it all added up.
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