A Quote by Don Rickles

I don't really tell a joke, I react to situations. The whole thing is just looking at somebody and showing all our weaknesses and exaggerating them, and that's how it becomes funny.
It's a funny thing about weaknesses....Most people will tell you they know their weaknesses. When asked, they'll tell you, 'Well for one thing, I'm overgenerous.' ... that's what innkeepers are for.
"I've learned what's funny verbally ain't so funny on e-mail: They don't hear your intonations. Melissa broke up with somebody over that. She tried to tell him: "That was a joke!" But he just didn't get it. Mick Jagger said, "F- 'em if they don't get the joke." And I love him. That comes with age: Knowing it's their problem, not mine."
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.
It's always funny to me how your movie becomes no longer yours and people interpret it how they want and react how they want to react to it, and it's fun to kind of watch that happen.
Funny stories on set - there are thousands of them, but they are only funny to the people who were on the movies. You start to have inside jokes and gallows humor. You have all kinds of things you laugh at, but as soon as you tell somebody, the joke falls flat because they don't know the context of it.
I don't really tell a joke per se, I build up an attitude and it becomes a joke.
I always say, if I tell you a joke right now and it's funny, you laugh. Now, we set the lights, and I tell you the joke again, it's hard to find it funny the second time.
I thought how you can never tell just by looking at them what they were thinking or what was happening In their lives. Even when you got daft people or drunk people on buses, people that went on stupid and shouted rubbish or tried to tell you all about themselves, you could never really tell about them either... I knew if somebody looked at me, they'd know nothing about me, either.
Same thing, like my commercials are often times really funny because I tend to find 30 seconds is a really good amount of time to tell a joke.
When you're in the editing room, the dangerous thing is that it becomes like telling a joke again and again and again. Eventually, the joke starts to not be funny. So you have to be careful that you're not throwing the baby out with the bath water.
Now, I want to explain something to you guys. I don't have an ending joke, because I don't tell jokes. I tell real-life stories and make them funny. So, I'm not like the average comedian. They have an ending joke; they always holler Peace! I'm out of here, and walk off stage. So, basically, when I get through performing on stage, I just walk off.
Do you want me to apologize after every joke? If it doesn't offend somebody it's probably not a joke. It's probably an observation that's not funny. It's gotta offend somebody somewhere.
A joke is either funny or it's not funny. If I hear a funny joke, you know what I do? I laugh, that's what I do. I don't start a focus group to see who got hurt by the joke.
It's harder when people are playing along, because it's just not as funny. They're trying to be funny, and it sort of cancels out the whole joke.
I take a lot of pride in managing to be funny without having a victim at the end of my joke. I laugh at a really dark joke as much as the next person, but my jokes, I feel, don't have to hurt anybody to be really funny.
How our availability, our showing up, our presence, leaves us open to that violence. I think it's a question of language, as it arrives from one body to another. It becomes the thing in between the two bodies.
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