A Quote by Bob Newhart

I have an aversion to laugh tracks - the moment I hear a laugh track, I go to another channel. — © Bob Newhart
I have an aversion to laugh tracks - the moment I hear a laugh track, I go to another channel.
I laugh when I hear that the fish in the water is thirsty. I laugh when I hear that people go on pilgrimage to find God.
Whenever I open a movie, I go secretly to the theater and stand in the back and enjoy the moment. I laugh when people laugh, and when people cry, I laugh.
The ultimate objective [of comedy] is to get a laugh, so if you can get a laugh off the fact that you did not get a laugh, then you've kinda saved the moment. Other professions don't have that luxury. You don't want to hear a brain surgeon say, "Man, am I so stupid! I cut on the wrong side of your head!!"
So many shows don't have laugh tracks now that, when you hear it, it can be slightly jarring.
The laugh track was invented to cue the audience to the jokes and encourage laughter in response. But it has another effect: if you hear people laughing and you're not, you start to question if maybe there's something wrong with you for not getting it.
I'd like to think I'm a little more memorable or specific now. People laugh at me in a way they wouldn't laugh at another comedian, rather than being like, "Okay, who's the next joke-slinger? Give me some jokes so I may laugh and go about my day!"
If you can’t laugh together in bed, the chances are you are incompatible, anyway. I’d rather hear a girl laugh well than try to turn me on with long, silent, soulful, secret looks. If you can laugh with a woman, everything else falls into place.
You can't have a laugh track that sort of tells the audience when to laugh and, you know, it's difficult to find those moments.
But when you're in front of an audience and you make them laugh at a new idea, you're guiding the whole being for the moment. No one is ever more him/herself than when they really laugh. Their defenses are down. It's very Zen-like, that moment. They are completely open, completely themselves when that message hits the brain and the laugh begins. That's when new ideas can be implanted. If a new idea slips in at that moment, it has a chance to grow.
The angels laugh at old Karl. They laugh at him because he tries to grasp the truth about God in a book of Dogmatics. They laugh at the fact that volume follows volume, and each is thicker than the previous ones. As they laugh, they say to one another, ‘Look! Here he comes now with his little pushcart full of volumes of the Dogmatics!’—and they laugh about the persons who write so much about Karl Barth instead of writing about the things he is trying to write about. Truly, the angels laugh.
I am serious, so I laugh a lot. You need to laugh. You don't laugh enough. I don't trust anyone who doesn't laugh.
I realized that comedians of the day were operating on jokes and punch lines. The moment you say the punch line, the audience either laughs sincerely or they laugh automatically or they don't laugh. The thing that bothered me was that automatic laugh. I said, that's not real laughter.
I think I'll be a clown when I get grown,' said Dill. Jem and I stopped in our tracks. Yes sir, a clown,' he said. 'There ain't one thing in this world I can do about folks except laugh, so I'm gonna join the circus and laugh my head off.' You got it backwards, Dill,' said Jem. 'Clowns are sad, it's folks that laugh at them.' Well I'm gonna be a new kind of clown. I'm gonna stand in the middle of the ring and laugh at the folks.
Something about not waiting for the laugh of a laugh track allows you to take lines that otherwise might be seen as just direct jokes, and make them seem realistic.
The best comedy not only makes you laugh, but on the moment of the laugh, you learned.
I think it's because it's so different and it takes risks. Plus, it's really smart humor. It gives the audience credit in terms of not needing to tell them when to laugh. I love that about the show. There's no laugh track.
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