A Quote by Neal Brennan

But my problem was that I did an hour for Comedy Central and nobody seemed to care. — © Neal Brennan
But my problem was that I did an hour for Comedy Central and nobody seemed to care.
Star Trek' is the McDonald's of science fiction; it's fast food storytelling. Every problem is like every other problem. They all get solved in an hour. Nobody ever gets hurt, and nobody needs to care. You give up an hour of your time, and you don't really have to get involved. It's all plastic.
'Star Trek' is the McDonald's of science fiction; it's fast food storytelling. Every problem is like every other problem. They all get solved in an hour. Nobody ever gets hurt, and nobody needs to care. You give up an hour of your time, and you don't really have to get involved. It's all plastic.
My intent when I moved to L.A. was to get in good with the comedy clubs and, eventually, try to break into Comedy Central and have my half hour special.
I have a half-hour special on Comedy Central, but so many people have half-hour specials now, and it's not so 'special.'
I'm a student of Comedy Central. It launched careers: Wanda Sykes and even Kevin Hart. The first time I was introduced to him, he was on Comedy Central. It puts you on the map... Hollywood knows now.
It's the ultimate pinnacle of stand-up to have an hour on HBO, but way more people see Comedy Central, and they've been good to me.
It’s the ultimate pinnacle of stand-up to have an hour on HBO, but way more people see Comedy Central and they’ve been good to me.
It's funny because I think a lot of it is simply... We've never considered ourselves satirists, but because we're on Comedy Central and because we're South Park on Comedy Central, we can do any topic we want.
When I had my Comedy Central roast, David [Spade] was my first choice to be roastmaster, because I adore him. He's funny as hell, and nobody is meaner.
I think I'm one of those guys who was sort of always in comedy. I thought of myself - and other people seemed to think of me - as funny from a very young age. I was a very young comedy nerd and I even did sketch comedy in high school and college. I wrote and shot sketches on video and acted in them.
I wrote a book of essays about New York called 'The Colossus of New York,' but it's not about - you know, when I'm writing about rush hour or Central Park, it's not a black Central Park, it's just Central Park, and it's not a black rush hour, it's just rush hour.
I wanted to move on. I wanted to do acting. The next thing I did after [MADtv] was a good hybrid of that. I did this show with Bob Odenkirk and Derek Waters (creator of Comedy Central's "Drunk History") and it was a little homegrown thing that we shot and then we sold it to HBO. We made a pilot and HBO didn't pick it up, but then we made all these webisodes. This was before streaming stuff online made any sense. (The episodes are available on YouTube). Nobody even knew how to watch things on the internet.
'Breaking In' is a very different office comedy and a caper comedy. Aside from 'Chuck,' there is no half-hour comedy that does stuff like that.
[on making the transition from the comedy "Mary Tyler Moore" (1970) to its dramatic spin-off series "Lou Grant" (1977)] We were really worried about changing over from a three-camera, half-hour comedy to a one-camera, full-hour drama. The audience wasn't ready for the switch - even CBS billed us in their promos as a comedy. In fact, the whole thing was impossible. But we didn't know that.
The Circle had been less than thrilled by its choice, but we'd finally come to terms. As in, they were no longer trying to play Whac-A-Mole with my head. Only now they seemed to think they had the right to make sure that nobody else did, either. That was a problem, because the vampires felt the same way and the Senate didn't share well.
In some sense, Comedy Central has made their audience into comedy connoisseurs.
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