A Quote by Ron White

Comedy is great because there's no overhead. — © Ron White
Comedy is great because there's no overhead.
Everyone wants charities to spend as little as possible on overhead. That's backwards. Overhead is what drives growth. If charities can't grow, they can't solve problems. So overhead is a good thing. And I'm overhead.
I gravitated toward stand-up because there's no overhead. I mean, literally, there's no overhead: Often, you're outdoors performing in front of groups of people.
It's very hard to find a good comedy. I prefer doing comedy far over anything else because I think they're actually more profound. But finding a good one and a great ensemble is very difficult to do and I'm delighted that in these particular times there is so much interest in comedy and that comedy is having so much success.
It's a great counter to doing the soap because it's a comedy. It's real physical comedy.
Do you know what the overhead is of the Medicare system? One-point-zero-five percent. Do you know what - private insurance is 30 percent in overhead and profits? Given a choice how I'm going to improve health care, I'm going to take it away from private insurance profits and overhead. Wouldn't you?
Verse comedy is interesting to me because of the challenge of writing in rhymed couplets, which is not a form that's usually amenable to English, yet to me it gives great possibility for comedy.
Comedy is more difficult than drama. I think it's really difficult to make someone laugh because people have very different comedic sensibilities. In drama, you can get away with being a great actor and surrounded by great actors and having good writing. But in comedy you have to listen and you have to perform with a certain rhythm, because if you don't, it's like playing a wrong note in the orchestra and you can hear the off key and it will fall flat and you won't get that instant response.
Here's the thing that I think about life - if you manage to get into a space where you don't need that much, where the overhead of your life is not that great and you're pretty happy and relaxed without that much stuff, you are really liberated because you never have to say yes to something because you want another refrigerator or car!
It bothers me when people say 'shock comic' or 'gross-out' because that was only one type of comedy I did. There was prank comedy. Man-on-the-street-reaction comedy. Visually surreal comedy. But you do something shocking, and that becomes your label.
A rap is a tweaked version of comedy, because comedy came first. People weren't spitting before they were doing comedy. Comedy has been relevant for years. It's the same art form, pretty much. Discovering that and applying it, I think that has made my stand-up better.
Eugene Mirman is the Andy Warhol of comedy. People look to him for what's next in comedy, and he emails these people back promptly. The Will to Whatevs put me in a great mood because I was laughing out loud. Alone. That's hard to do.
I naturally think in terms of comedy whenever I see anything because tragedy is so close to comedy, so I like to add the tragedy to the comedy or a little bit of comedy to the tragedy in order to make them both feel more real to me.
Comedy people are always present because they're always looking for the funniest version of whatever the line is. Sometimes theater people, where scripts are sacrosanct, aren't quite as present in scenes. That's a massive generalization, but in my experience, I find that comedy people are great to improvise with and to do scenes with because they're there.
I think it's true of every great comedy that it's rooted in some dramatic, incredibly personal truth. And it's true of all great drama that there has to be comedy.
I will do comedy until the day I die: inappropriate comedy, funny comedy, gender-bending, twisting comedy, whatever comedy is out there.
Phunny Business is a breezy, vivid, funny, star-studded and delightful valentine to comedy, entrepreneurship and the All-American impulse to make something out of nothing. The story of comedy club owner/inveterate dreamer Raymond Lambert and his heroic quest to create a safe, productive place for black stand-up comedians to hone their craft and find their voices isn't just a great Chicago story and a great comedy story: it's a flat-out great story, lovingly and engagingly told.
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