A Quote by Alison Brie
30 Rock is probably one of my favorite shows. It's just joke after joke after joke.
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'30 Rock' is probably one of my favorite shows. It's just joke after joke after joke.
The U.K. and Europe in general seem to be a lot more patient. The U.S. are expecting 'joke joke joke joke joke joke joke.' They don't actually sit and listen to you.
When I'm writing columns, it's - all I'm thinking about is jokes, joke, joke, joke, setup, punch line, joke, joke, joke. And I really don't care where it goes.
I enjoy watching a woman with really bad teeth and a good sense of humor struggling to use her lips and tongue to hide her teeth when she's laughing. I just stand there and tell her joke after joke after joke.
When I was governor, if I told a joke in front of the press - I learned. I would go, "That was a joke, joke, joke," and I'd say it three times.
Something is mighty wrong with our priorities when professing Christian men joke about their wives, joke about their children, and joke about God, but fight to the death over their favorite sports team.
What you never want to do is have a story that doesn't track emotionally, because then you're going joke to joke and you're going to fatigue the audience. The only thing that's going to string them to the next joke is how successful the previous joke is.
I think one of my favorite pieces I've ever done on the show which was about Hezbollah Israel conflict in 2006 and it was very pointed. It was a beautifully crafted piece of satire and it's a weird thing to say but it had a joke in there about 9/11 and I remember the audience sort of laughing but also kind of not knowing how to respond to that joke and it was just so - and I remember the tension after we did this joke on the air and there was this palpable gasp in the audience, but they were also laughing. And I thought oh, wow, that is something that is not being said in the Zeitgeist.
Twitter is a good medium to lean how to write jokes. It pushes you to write a better joke in that, on Twitter, the first joke about something has already happened. You need to think of the second joke and the third joke.
Often, when you're in some of these writing rooms for... and the most restrictive is network television, right? They say, 'Wow, that's a great joke, but we can't do that. Okay, let's try the second joke. Oh, you can't do that one. But the third joke you can do,' and hopefully it will be great, but it will remind people of what the joke really was.
I sometimes joke - but the joke is not so wrong - that after my time in East Germany, I could either afford therapy to work through what happened under the Communists or move to New York.
I had a show that people thought used a laugh track. It wasn't; it was the real audience going crazy after everything that resembled a joke, that they could technically call a joke.
The fact that 'Mom' is not joke, joke, joke - and is investing in these characters and their lives, things that really happen to people - I think it's resonating, and that's why people are tuning into it and not just dismissing it as a multi-cam sitcom.
As far as outlining is concerned, I don't outline humor. I might right down a word or two to remind myself of a punch line I thought of, but the actual structure of a piece I really don't. I don't think it would really help me because for me the process is joke, joke, joke, joke.
I have become a giant fan of the testing process, especially with a comedy. I mean, they tell you what's funny. It's almost tailor-made for people who shoot the way we shoot, trying a million different options and versions of things. Because the audience doesn't laugh at a joke, we put in another joke. If they don't laugh at the next joke, we put in another joke. You just keep doing them and you can get the movie to the point where every joke is funny, if you have enough options in the can.
Dominic Sherwood would always tell me a joke right before it was my take or my close up. He'd say a funny joke, and I couldn't stop laughing, even after they said, 'Action.'
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