A Quote by Conchita Wurst
It's easy to say, 'This is just a joke.' You know, the bearded lady? And I feel the need to smash it with every performance just because I want to be clear this is not a joke.
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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.
You don't want to just do a joke because it works - we can make a lot of jokes work - you want to do a joke because it will hopefully build into an argument.
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.
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.
If you're going to do a Chris Christie joke, just say, 'Christie spent $82,000 at a concession stand at MetLife Stadium. Then he turned to his friends and said, 'You guys want anything?'' That's a joke. I can't believe it. I caved in. I feel awful.
Some street jokes are just timeless. There's an old street joke about comedians. The joke is that a beautiful girl comes up to a comedian at the end of the night and says, "I saw your show tonight, and I just loved it. I want to go home with you, and I'll do anything you want." And the comedian says, "Were you at the 7 or the 9?" That's just a perfect joke, because it points out how egomaniacal and obsessive comedians are. Even though I'm not waiting for a groupie, I can completely understand it. It just defines how comedians are driven.
I want people to just be paying attention even if they're not necessarily laughing at something, or if it takes them a while to get something, I don't mind that. If half the crowd gets the joke and the other half is sitting there scratching their heads, that's just as good for me if I like the joke, because I feel like it just brings people in more.
Then when we did the untitled record, we just didn't feel like putting joke stuff on it, so we didn't. It wasn't really a deliberation or a real introspective thing like, "Are we going to joke on this one, are we not going to joke on this one?" We just didn't feel like it on the untitled one, so we didn't.
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.
The thing with the comedian is you can make all the jokes you want and not every joke it going to be a winner, and not every joke is going to land, there'll be some that somebody doesn't laugh at, but that's just part of the deal.
To know how to structure the joke perfectly so that the narrative information is given in the right tempo, in just the right dose - it sometimes takes quite a lot of work. It seems easy when you hear the joke.
I don't see much point in doing things for a pure joke. Every now and then you need a joke, but not so much as the people who spend all their lives constructing joke palaces think you do.
Every joke is an experiment. When you sit, alone, and write a script, or just a joke, you really have no idea if it will succeed.
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.
You can tell on-stage when a joke's starting to lose its pop. It doesn't mean people don't want to hear it anymore; it means I don't want to do it anymore. Because I want to move on to something that has a knee-jerk reaction just like you get when you tell somebody a joke that they've never heard.
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