A Quote by Betty White

When you start explaining why something's funny or finding a formula for it I think it loses some of its funniness. — © Betty White
When you start explaining why something's funny or finding a formula for it I think it loses some of its funniness.
It's hard talking about acting, in a way, because it's like explaining a joke: I do think it loses something in the telling.
We love Formula One and think Formula One's great. But we think Formula E is different. We would be making a big mistake if we tried to compete with Formula One and be similar to Formula One, we have to be radically different to Formula One to have a chance of survival. I don't mean survival by beating Formula One but co-existing complimentary to Formula One.
The truly correct proof is one that strikes a harmonious balance between strength and flexibility. There are plenty of proofs that are technically correct but are messy and inelegant or counterintuitive. But it's not something you can put into words - explaining why a formula is beautiful is like trying to explain why the stars are beautiful.
The idea of surprise is part of what makes something funny, or what gets a reaction. At least when I'm an audience member, after you hear a joke so many times it's not as funny because it loses its surprise or its twist. So I think funny has to do with surprise.
I know that a lot of people like to say "formula." I think that as soon as you start to have a formula imputed to your work, you're in danger of becoming formulaic. So the one formula I have as a rule is falling in love with the material.
I think that's a very good point they're bringing into Formula One at the moment, to get rid of all the electronics. And I think that's what a Formula One driver needs. That's why they are a Formula One driver. They need to drive themselves.
I do think that the audience thinks it's funny when you break, but if you do it all the time, it loses something.
I think my general disposition on life is finding what's funny about it. When something happens, the first thing in my mind is, "What's funny about it?"
I'm used to explaining to people why my jokes were funny.
I want to be funny. When I first started writing, I didn't find my stories funny, but people kept saying they were. It kind of worried me; these are some pretty disturbing and sad pieces. Why do people think they're funny?
One of the things that is always difficult about a collaboration is that you don't necessarily find the same thing funny. And so the challenge becomes, how do you tell the other person that you don't think something's funny? The best collaborations tend to be when you are willing to be told that. But there's also ego involved, and so there's a lot of frustration in knowing that you're writing something, and the other person, on some level, needs to think that it's funny.
He who loses wealth loses much; he who loses a friend loses more; but he that loses his courage loses all.
I think stutterers are funny. And I know it's rude and politically incorrect to laugh at stutterers. But I think it is okay because I know why they're funny. They make people nervous. People think, when on earth are they going to get the word out, so they start laughing out of their own nervousness.
Men love explaining things. But when he's explaining something and you already know that, it might be tempting to say 'I already know that.' Instead, have him explain it to you over and over again. It will make him feel useful and will give you some time to think about out how to avoid him in the future.
I don't think I've ever written a poem whose intention was just to be funny. I've written poems that start out funny and often shift into something more serious.
Hollywood has to start finding more original stuff They've got to start by not depending on, 'What can we churn back out? How can we regurgitate this?' That's why I want to redo the feel of Transformers. That's why I wanted to start with a new cast. You want it to feel fresh, and you want to make it feel different than the other three.
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