A Quote by Chris Gethard
In 2010, I was the star of a sitcom. It came and went pretty fast. But in the months from when I was cast in the sitcom through when it was done airing, my life did change remarkably.
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When I came out to Hollywood in 1985, I thought that I would be sitcom star. I'm a tall, skinny, goofy guy. I thought that I would make a great funny neighbor, or wacky office mate, in a sitcom.
After meeting the family, they really felt like a sitcom family, ... I thought it would be cool if we did a reality show, but told it with the visual language of a sitcom format.
The difference between doing a live show and a sitcom is that a sitcom can live on. If you do it well, it can leave a legacy, whereas most of our live work never gets repeated because it's final, it's done, you start again.
What makes 'Derek' a different kind of sitcom - if it is even a sitcom - is its sincerity.
I wouldn't consider myself a traditional sitcom actor or someone you'd even think would be in a sitcom.
I didn't want to have to follow 'Everybody Loves Raymond' with another sitcom. Let it be my sitcom legacy, and leave it at that.
Sitcom hours are silly easy compared to drama. Whenever an actor on a sitcom complains, I feel like smacking them!
'Caroline In The City' was such an interesting thing, because I'd never been on the set of a sitcom or even auditioned for a sitcom when they gave me that part.
The characters are not allowed to change if you write a sitcom; they're not allowed to learn anything. There's all these sorts of rules, and you go, 'I just want to be able to write one character and then leave that behind.' Also, as a performer, and I may regret saying this, but it would be my own personal hell to be trapped in the sitcom.
You cannot begin to imagine the shock I had when I came down on the floor for the first time. First of all, there's this whole thing about playing sitcom comedy. I didn't want to do the sitcom thing, but I didn't know what else to do. I went slowly. We went through the week of rehearsal, then we got on the floor with the cameras, which I'm used to because of my experience in the old days. Then came camera day, with an audience, and it was stunning, enthralling, exciting and chaotic. I had never experienced anything like that before, as an actor. I was part minstrel, part actor.
Every comic is taught that you're supposed to have a great seven-minute set and then get a sitcom. And I don't want to get the sitcom.
I always try to use my medium, and if I get into a normal sitcom-writing contest with normal sitcom writers, I'm going to lose.
The film is better for me than the sitcom. But the sitcom is like much more practical approach, if I may say that, because of the cost. Everything costs money, a lot of people don't realize that.
In my twenties, I thought it was getting a sitcom. Then I got a sitcom pilot in my early thirties, and realized I didn't want it. It was a rude awakening. When it wasn't picked up, I was crushed, but then in retrospect I've made two films and produced three one-man shows since then. It's the luckiest thing that happened in my life.
Well, usually, when you're doing a sitcom, you get a script and every word or for the most part, is written. So, you know, if it's a 30-minute sitcom, then it's a 35-page script or something like that.
I did five episodes of Townies as Jenna Elfman's boyfriend. I was a guest star, but it was the first time I really got to play laughs in front of a sitcom audience.
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