A Quote by Albert Finney

I think that one of Tim's great qualities and abilities is in what seems like a thumbnail sketch to get something quite telling, very simply, when you're doing it or being in that thumbnail sketch, you don't feel that it's important.
There is no means of testing which decision is better, because there is no basis for comparison. We live everything as it comes, without warning, like an actor going on cold. And what can life be worth if the first rehearsal for life is life itself? That is why life is always like a sketch. No, "sketch" is not quite a word, because a sketch is an outline of something, the groundwork for a picture, whereas the sketch that is our life is a sketch for nothing, an outline with no picture.
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 think that if you just kind of try to throw together a sketch show, but you don't have any real vision for what you want to do with the sketch, I don't think your chances are very good. You know, "Let's just have a sketch show!" You have to do something different with it; you have to reinvent that form every so often.
There was a male sketch group in my college. I was like why isn't there a female sketch group? So then I started doing sketch comedy and all that stuff. It just happened.
If the thumbnail version of the Iraq war was that Bush lied about WMD, the thumbnail version of Obama's war in Afghanistan is that the generals pushed him into a war he didn't want to fight.
And this, incidentally, is my thumbnail sketch of American marriage: A woman sees a man; she likes him. Now she jumps on this thing and rides it to some kind of standstill. Then she changes it and trains it, and to the exact degree that she's able to do this, she disrespects him.
When you're doing sketch comedy and you're pregnant, it's like wearing a giant sombrero in every sketch.
Sketch shows change gears so drastically every two minutes. I think sketch shows are for sketch fans; they're not really for everybody.
For myself, the way that I learned comedy was doing it live for four years, and only after doing sketch for four years did I feel confident enough to be like, 'Okay, I feel good about starting to put stuff on the Internet where it lives forever.' As opposed to one time at a college sketch show where it bombs and we never speak of it again.
I don't think the sketch on its own is a great sketch.
The whole thing with the Rick James story sketch and the Prince story sketch - I recounted my past, you know? - and that's what I was doing. It's not like I sat down and said I want to come up with a great story about Rick James. That stuff really happened.
I've always drawn a lot. I like the idea of turning a 2-D sketch into a 3-D thing very quickly. And clothing is really good for that. You can draw an idea in the morning and you can see it by the end of the day. I think if it were something like a four-month process to get from the idea to the final thing, I would get quite bored.
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.
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.
If you wanna be an artist carry sketch pad with you, and sketch everything you see. Get so you can draw anything and it looks like what it's supposed to be. It's a lot of work, but if you really have it in you, it's not like work. It becomes fun.
There was no Groundlings or Upright Citizens Brigade where I was from. Looking back on it, I was trying to do sketch comedy in my stand-up, which is still kind of what I am doing now. To go full-circle here, it's kind of like one-man sketch.
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