Top 269 Quotes & Sayings by Amy Poehler - Page 5

I find my relationships at 40-plus are really emulsified, juicy relationships because you have more of a sense of who you are and who you want to be around.

Being snubbed is not always a bad thing at awards shows because you end up getting a lot of people coming up to you and telling you how great you are.

I get a bit nervous because I just want the show to go well. I think you always have to be a little bit nervous, or else you're a little checked-out, and that's maybe the time when you're not doing your best stuff, because you're kind of just checked-out and falling back on stuff.

I have a boyfriend who knows how to settle me. He puts his hand on my chest and tells me boring stories. On one of our first nights together I woke up apologizing for my snoring and he pulled out two earplugs he had worn to bed so he could hear what I was saying.

I have withdrawal pains about not getting to work the people (on the show).

It's interesting that people always want to ask me and a lot of working mothers, how do you do it? And it's like well, just like everybody else. It proves it's a bad question.

I hope and assume that every good comedy writer, no matter the age, has a moment where they discover how great Cheers is.

If you're a good improviser, you improvise well enough that people think that you're doing a sketch.

We may all host ourselves to death, and if we're all dead who will host our funerals?

[At Boston College] I started working on the kinds of skills that you need for comedy. It's about being creative and learning to use your gift for being able to let loose and be very unself-conscious. It took me time though before I was really able to get comfortable doing that.

Anyone who has the kind of inventive and inspired comic sensibility to be able to do that kind of work must be pretty talented.

It's very hard to watch comedy for me, when I'm doing a comedy show, because I either watch a show and I love it, and I'm jealous, or I watch a show and I see all the problems with it, and I'm angry that I watched it.

Forgiveness is something that's always possibility.

It seems a strange thing, but once I was able to get past that kind of self-image problem, I was able to open up in my comedy work and just go all out, take chances, and have fun with the performance aspect of that.

What I like about all these giant superhero movies is that they speak to the issues that I'm dealing with - working mother and time management and how to be an interesting, sexual, curious woman in your 40s.

I had to come to terms with how I saw myself. I had to understand that I wasn't pretty or beautiful like most actresses and that I shouldn't care about whether other people found me attractive or not.

Ladies like improv stilts, and I think men like improv giant cocks. But one of the great things about improv is that you get to play some roles you'd never get to play otherwise, you know, like the old Italian pizza-maker who's passing on the business down to his son. You get to play it all when you improvise.

An interesting thing about the beginning of our friendship and professional collaboration [with Tina Fey] was that the improve scenes we would do together were basically dramatic and not funny at all.

I also love being able to do something that kids and families can enjoy because I have two children of my own and I want them to grow up watching all the fabulous animated movies and cartoons that I loved to watch as a kid.

Talented men are not threatened by talented women. They welcome them. And same way with real men.

Well people love to go dirty and stuff like that. It's funny, because even really dirty things can kind of inspire, but all things inspire really dirty improv and monologues. So then really dirty things can inspire the exact opposite. It's kind of a crapshoot.

The computer is the new fireplace, everyone in the family gathers around the digital hearth for warmth.

You learn early as an actor that creating your own material is the only way to have any control.

There's nothing like watching a live performance of, frankly, anything. You have to make sure that people believe everything is improvised. I could not stress enough how little we [actors] prepare and what small amount of time we put in before these shows.

Sometimes you have to kind of keep proving that you're improvising. That's the game, or the goal, of long-form TV improv, is that you have to kind of keep reminding and showing people that you're improvising, because they won't believe you really.

We [with Les Charles] started talking about hotel stories, and we found that a lot of the action was happening in the hotel bar. We actually thought of that while we were in a bar: "Why would anyone ever leave here?"

The desire to work with Burrows-Charles was really to change NBC's identity, to say, "We want to be in the sophisticated-adult-comedy business."

I think chemistry is about not acting, but reacting, and not talking, but listening.

When you host a show you have to hopefully be funny at the top and set the tone for a really fun evening.