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I love mustaches with all my heart. There's just something about sketch comedy and mustaches.
When I was a little kid, I was a huge fan of 'The Kids in the Hall.' They were like my boy band. I was obsessed with sketch comedy. Being raised Christian, I was somewhat sheltered from the more radical high-art world. So to me, comedy was where people got to express themselves in an abstract way. It was a big part of my growing up.
My gut feeling about sequels is that they should be premeditated: You should try to write a trilogy first or at least sketch out a trilogy if you have any faith in your film.
It's what I've trained for, from the first sketch to the fabric. Making dresses that are different from the usual style, and a lot of fun to wear.
Every sketch goes through a rewrite stage where a group of writers sits around a table and pitches more jokes and ideas for the piece.
I was fascinated with the writing process and seeing the evolution of a sketch and how it would change up to the minute before it went on the air.
I would call it a comedy variety show. We have some people just doing straight standup. We usually try to have one musical act of sort. So its just people being funny in different ways, not just sketch, not just standup, not just characters, all of those things.
I think the great sketch shows, like 'Python' and 'Mr. Show,' they didn't stick around for very long. There's something kind of cool about that.
If I don't have a project going, I sit down and begin to write something - a character sketch, a monologue, a description of some sight, or even just a list of ideas.
There's no job like 'SNL.' There's no other job you go to where you're like, 'Oh, this is like that live, late-night sketch variety-musical show that shoots in, whatever it is, 10,000 feet of sound stage.' There's nothing like it.
So many designers only sketch and leave pattern-making to others. Pattern-making is important so you know the structure. Then if someone tells me, 'I can't make a pattern from that sketch,' I can tell them, 'I will make it' and then they are quiet. If I can't make it, I don't design it.
There's sketch, improv, writing, acting, music, and badminton. Those are the seven forms of comedy.
There's sketch, improv, writing, acting, music, and badminton. Those are the seven forms of comedy. But I do like the idea of being an auteur in the sense of writing and being in your own stuff.
My way of dealing with not really fitting in at my very crappy New England high school and junior high was to write sketch comedy and satirical takedowns of the social hierarchies. At the same time, I was developing a love for movies at the height of the '90s New York indie movie explosion: everything from 'Rushmore' to Nicole Holofcener movies.
If you start to disrespect the character you're playing, or play it too much for laughs, that can work for a sketch, it will sell some gags, but it's all technique. It's like watching a juggler - you can be impressed by it, but it's not going to touch you in any way.
I love modeling because I get to see everything that inspires me. Then I go home and sketch.
'Mad TV' is one of my most favorite shows of all time and is a huge part of my obsession with sketch comedy.
My friends say I make them laugh a lot, so I think that somewhere in me is a little comedic ability that comes out in the most inappropriate or unexpected moments. I did a lot of sketch comedy years ago. That's always in me.
I still have a desire to do some sketch comedy. My dream is to be on 'SNL,' to host 'SNL.'
Canadian comedians are generally more well-rounded... They have to do a lot more. In order to have a career in this country, you have to do everything. And in the States you can narrow-cast, you can be just a sitcom performer or a stand-up comedian or a sketch performer.
I was always a big fan of Mel Brooks and Carl Reiner's '2000-Year-Old Man' sketch. I think it's one of the biggest influences on the podcast, definitely. You'd never say Carl Reiner was the funniest dude on there, because he's just teeing it up, but he knows what questions to ask to lead to great improv.
If I told my 18-year-old self that one day I'd have a sitcom and a sketch show on TV, I think he'd just drum his fingers and go, 'When? How long is that going to take?'
'Reno' was originally going to be a sketch show, with the cops as a transitional element.
Sketch shows change gears so drastically every two minutes. I think sketch shows are for sketch fans; they're not really for everybody.
I took classes and performed and did improv and sketch and wrote sketches and did lights and sound for other people's shows just so I could be around the theater. That was about seven nights a week for seven years.
A couple of friends and I started a sketch comedy group when we were teenagers, just for fun and to start creating stuff. It was a blast.
The gummy bears tattoo was my idea. It's my son's favorite candy. The sketch was my other son's idea. It's a self-portrait of himself. I just showed the artist his sketch and had him tattoo it on my forearm. It looks like a stick person with big hair. It's pretty funny.
Get into your own creativity. Sketch and paint with different mediums and follow your heart.
Nine out of nine architects start with a sketch, and then they say, 'What should we make it out of?' I start from the bottom up - what should it be made out of - and then I worry about what should it look like. The material, the color of the material, the way it feels, and the way you respond to it is every bit as valid as the form or the shape.
Usually I start with a concept, which I then sketch out so that I can get a feel for the character. The character doesn't really become real to me until I draw them.
If you want to be an actor, you need to learn how to act first, even in sketch comedy.
No one will ever be as good as Phil Hartman. He was such an amazing genius, and may be the best sketch performer of all time.
Most sketch aficionados have an enormous amount of respect for 'Mr. Show.' I didn't have HBO back then, so I was always trying to find episodes. Bob Odenkirk and David Cross became celebrities, and Jay Johnston - who's lesser known, but brilliant - deserves a lot of credit, too.
The truth is, I don't sketch much at all. I have a very visual/spatial brain that retains a lot of information about maps, directions, positioning, and details, so I usually prefer working out those issues on the page itself.
The thing about Parsons compared to the other schools is that it really teaches you how to be a designer, whereas some of the other schools teach you to sketch or teach you the technical skills. But the curriculum at Parsons when I was there was how do you put a collection together, as well as all the technical stuff. It's the best training.
I'd worked on music docs for years. It felt like writing a novel. By the time I got to Keith Richards, it felt like making a sketch.
Commercial directing felt like a very natural transition from my comedy, sketch, music video directing experience.
Graphic novels are such a visually creative world - it's really interesting what they can do in one sketch. Now I'm hooked.
I can sketch up a storm, and I'm very involved in how clothes are constructed, but I have a short attention span.
My first real break was when my college sketch troupe, The State, was asked to contribute pieces for a new MTV show called 'You Wrote It, You Watch It.'
At this point, I feel fairly comfortable in terms of performance. I think having a sketch background actually helps a lot. Because my background is acting, and stand-up, in a lot of ways, is acting.
During my military service, I performed a sketch in which I played a flea called Max. So when critics kept misspelling my name, I decided to change it and thought, 'Ah! Max!'
We agree that there is a problem in the sketch and improv community where, in general, there should be more interest from a more diverse sampling of our society. That is precisely why we do have diversity scholarships and why we've put together a diversity program to try to figure this problem out.
One fan wrote asking for a very specific autographed photo. He wanted me to pose in tight jeans and boots and even enclosed a sketch of how I should dress! A lot of them just say they wish they had a girlfriend like me. They're very endearing letters.
I always carry a sketchbook around with me, and I sketch whenever I can... I might be in a financial review and be sketching because I find that I actually listen better when I sketch. Truth be told, there are probably more sketches in my books than there are written notes.
The label 'wife of the prime minister' is like a giant signboard pointing at my head from a Monty Python sketch. But I am not Mrs. Prime Minister. I'm a human being.
When I was 10 or 11, I started to sketch, and my drawings happened to be like fashion drawings... I'm lucky to have had this dream to chase since I was very young.
'Pyrapshere' began as a sketch for a variety show I produced called 'A Pretty Good Show.' My partner, Andersen Gabrych, and I expanded it into a full-fledged faux-religion, including a list of 21 tenets, sacred symbols, testimonials, and even a clothing line. Many people believed it was a real thing and wanted to join.
When you're writing a sketch, it has to be surrounded by a situation. It can't just be out of the air.
It's not the act of arrogance to draw, it's humbling - you must use your God-given talent. And of all the people I sketch, in most cases I feel I have to measure up to the subject.
I love doing different things where, for a little while, I can focus on standup then sketch writing, then performing, then directing a video. That, to me, is stimulating.
If you do a sketch, that's a very short narrative. Stand-up, it's bit-to-bit, minute-long narratives.
We end the show with something that's never been on TV because it was too big for a sketch but we couldn't stretch it out to make a whole episode because it would have been too long, but we always thought it was really good.
When I'm writing, I'm creating the story and its character with words. I'm thinking about what the pictures will be like, but I never begin to sketch. The pictures are all in my head.
It's absolutely surprising to me how well 'The State' has held up as far as people liking it and having fond memories of it, considering it's a sketch show.
It's absolutely surprising to me how well 'The State' has held up as far as people liking it and having fond memories of it, considering it's a sketch show. I think one of the things that helped its mystique is, it never came out on DVD or video or whatever.
Every movie I do, or when I'm on the sketch comedy show, I don't really get into it until I have an outfit or something funny with my head or face or something.
I was very serene, and I still am, until I start talking in another voice, then suddenly I have a lot of volume and I'm frantic. But I didn't want to be one of those people who's always talking in accents in real life, so I started doing sketch comedy.
Getting recognized on the street is fine, but I never really wanted to be famous. I just wanted to have mastered the art of sketch comedy.
I think, in comedy, you only hit about one or two great characters in your career. Sometimes my character will be just a sketch... what is the funniest situation to put this person in?
Working off one genius sketch is not the way great architecture should be made.
We did the 'MacGruber' Super Bowl spot for Pepsi, which generated some outside interest. We have a sketch where a guy blows up after 90 seconds. How are we going to make that into a movie?
Nobody wants to see sketch comedy that's the same sketch they've seen time and time again, or that's just a rehash of that thing.
I normally keep a series of draft in a catalogue type of book in which I scribble, sketch and draw ideas.
'One Leg Too Few' by Peter Cook is a perfect sketch. The setting is ridiculous, the language is beautiful, and the performances make the most of every syllable and movement.
Well, I get my subject on Wednesday night; I think it out carefully on Thursday, and make my rough sketch; on Friday morning I begin, and stick to it all day, with my nose well down on the block.
I call it 'the Etch A Sketch life.' Every few years, you should shake that thing up.
You can't do sketches enough. Sketch everything and keep your curiosity fresh.
Though we explore in a culturally-conditioned way, the reality we sketch is universal.
I did sketch comedy, but I never did improv. So I've just tried to learn as I go.
Stand-up for me is just my opinions on things, so it wouldn't be as fun translated into a sketch. Nor would a sketch be as fun if it were me standing there saying it.
I can help you shape your sitcom, I can help you think about what could make your sketch show better, but it won't help you get you a commission.
When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture.
I sketch while I'm on set, and it's a way for me to record all of the locations I've been to. I don't keep a diary but a sketchbook.
I'm a really gifted physical comedienne. I write and produce a lot of sketch comedy.
At first, there was a separation of clubs and sketch comedy. Now there's all kinds of comedy, making us one big happy family.
That's what I love about sketch comedy: a sketch is five minutes, then it goes dark, and there's the potential for something else.
Maybe it's just my improv and sketch background, but I'm a lot more comfortable in a group. I like sharing focus and populating an ensemble.
If you want good sketches, go pick up Sid Caesar. The best of Your Show of Shows. That's the greatest sketch comedy you'll ever see on television.
I start with an idea in my head. I sketch it out quickly as a line drawing, using pencil. It never comes out quite right - usually a bit better than my mental picture.
The first piece of art that I ever bought-when I could afford it-was a Warhol sketch from the period when he was just getting out of doing commercial work and more into art. It's a sketch of a young guy's face. I guess the gallery that I bought it from thought I would like it because the young guy kind of looked like James Dean.
I would go to sketch groups and draw. I really enjoyed the subject matter, but I wasn't good at it.
Usually in a Smosh sketch, we get 60 shots, 12 hours to shoot - we're just going 'bam, bam, bam.'
I think people are purists about what sketch comedy should be, and I think sometimes having too much fun can be a little annoying to some people.
What I've learned from sketch is you can get it as perfect as you want, and it's never going to be perfect.
You asked what is the secret of a really good sketch. And it is a sketch is a small play. It's got a beginning, and a middle and an end. It should have a plot; it should have the characters, conflict. It is a little play. And in it, will be funny stuff.
I had a sketch called 'Fedora Basketball,' which was about basketball players having to wear hats; in addition to scoring points, they have to make sure their fedoras don't fall off.
Occasionally, I will come across something that has lost its label over the years - maybe the client didn't want to declare the dress at customs and took the label out - but I'll recognize it from an image that I've seen in Vogue, or a little thumbnail sketch.
I come in. I'm going to sketch, I'm going to drape, I don't know what I'm going to do.
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