A Quote by Amy Poehler

I'd say any good set or any comedy that I've worked on, that's worked, has been comedians pitching ideas back and forth to each other. A lot of like, 'What if you say this? What about this?'
I worked on the line, I've been an executive chef, I've worked for the Mets, I've worked for various steakhouses, vegetarian restaurants, a lot of Middle Eastern stuff. I've worked my fair share of a lot of different things. I've worked at festivals and street fairs, you know? I've been through it all.
I'm always intrigued by authors who say, 'This book took 17 drafts.' They're very clear about it. I couldn't possibly count the number of times... So many of these stories I worked on for a very long time and wrote them, set them aside, rewrote them, worked on something else - they were never far from reach; they informed each other.
If you look at the publishers I've worked with, generally, they're a great bunch. Creation is unlike any other publishing house you can think of. The people I've worked with have integrity and intelligence and, almost always, less money than ideas.
There are some directors I should have worked with. I`d like to have worked with Robert Altman - I turned him down a couple of times when I was younger. My thing now is if it`s a good director I`ll never say no - I`m just gonna say yes from now on.
What I would say about Barney Eastwood is that when our relationship worked, it worked extremely well. He had a lot of strengths as a promoter and a manager.
I worked mostly in television drama for my first few years. I just kept guesting on NYPD Blues and CSI-like stuff, so when I started getting work in comedy, a lot of people in the business would say, 'Oh - I didn't know you did comedy.'
Of all the stars whom I worked with, I think Steve knew better what worked for him on the screen than any other. He had such a sense of what he could register, and that helped a lot in terms of shaping the character and the script.
We are the most focused company that I know of or have read of or have any knowledge of. We say no to good ideas every day. We say no to great ideas in order to keep the amount of things we focus on very small in number so that we can put enormous energy behind the ones we do choose.....It's not just saying yes to the right products, it's saying no to many products that are good ideas, but just not nearly as good as the other ones.
I hate shows, personally, where people stand around tossing stuff at each other, and any character can say any line, because you don't believe any of these characters care for each other. I used to fight with my friends who wrote on 'Seinfeld,' because they had such great pride in saying it was a show about nothing.
The problem I see with utilitarianism, or any form of consequentialism, is not that it gets the wrong answers to moral questions. I think just about any moral theory, worked out intelligently, and applied with good judgment, would get just about the same results as any other.
I think any workplace relationship is dangerous. That's been my personal experience. They haven't always worked out the best. But I know other people for whom it worked out great.
For me, it was kind of like going into the military or something. And anybody - any male - who has ever worked in a French kitchen knows what I am talking about when I say that.
People who aren't as interested in recorded music as they used to be will say, 'Oh, 'Buena Vista?' Loved it.' And I'll say, 'Well, how about any of my other recent records. I've been doing some pretty good ones. You like those?' And they go, 'Huh?'
I'm friends with a lot of comedians, but we don't talk about material. Most comedians I know don't watch a lot of other comedy.
From any vocabulary of ideas we can build other ideas by formal combinations of signs. But not any set of ideas will be instructive. One must have the right ideas.
A lot of the music video stuff I've worked on is mostly me pitching ideas, and then if [the artists] have notes or thoughts, I'll integrate them into the idea.
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