A Quote by Gilda Radner

[Roseanne Roseannadanna line:] It's always something. — © Gilda Radner
[Roseanne Roseannadanna line:] It's always something.
Of course ABC and its parent company Disney were right to cancel the sitcom 'Roseanne' after its eponymous star, Roseanne Barr, wrote a racist tweet.
That was the beauty of 'Roseanne' and Roseanne herself. It could go dark; it could do issues.
This bugs me the worst. That's when the husband thinks that the wife knows where everything is, huh? Like they think the uterus is a tracking device. He comes in: "Hey, Roseanne! Roseanne! Do we have any Cheetos left?" Like he can't go over and lift up the sofa cushion himself.
Comedy comes from pain, and no one knows that better than this woman Roseanne Barr—who was molested as a child. Uch. That poor molester. Roseanne never got over it. She felt violated. She had trust issues. She never got the candy he promised her.
'Mr. Robot,' in particular, signals the rise of a fresh post-Occupy portrayal of the wealth gap. No longer is the story of income inequity delivered via a well-meaning, crushingly earnest indie film by John Sayles or in a single laugh line on 'Roseanne.'
As a writer, you're always trying to say the best thing. You're always thinking about what's the best thing to say, and what's the hardest way to say it, and what's the best line? Sometimes the best line is the simplest line. Sometimes the best line is the line that evokes more feeling than actual wordsmithing.
With the stand-up comic on TV, whether it's Seinfeld or Cosby or Roseanne, more important than their knowledge of how to tell a joke is their knowledge of themselves, or the persona they've created as themselves. So that when you're in a room with writers, you can say, 'Guys, that's a funny line, but I wouldn't say it.'
When my friends and I grew up, we had 'Full House,' 'Growing Pains' and 'Roseanne.' These sitcoms were about something, about real people in a sense. They sort of super-sized real life where things aren't necessarily exactly how you go through them in daily life, but you can relate to something, and you can pull something out of it.
In my dreams and visions, I seemed to see a line, and on the other side of that line were green fields, and lovely flowers, and beautiful white ladies, who stretched out their arms to me over the line, but I couldn't reach them no-how. I always fell before I got to the line.
I've always tried to walk a line between being incisive and acerbic, but not mean. Sometimes I'm going to tip over the line a little bit, but that's usually a line I try not to cross.
It's not just that that and that exists. It's that that, that, that, and that all exist in the same frame. I'm always looking for something more. You take in too much; perhaps it becomes total chaos. I'm always playing along that line: adding something more, yet keeping it sort of chaos.
I don't think anyone ever plans to change line-ups, but it's something that comes with being in bands. I was in a band once and there were always problems - members come and go - and some of the world's biggest bands have changed line-ups loads!
It is possible to combine a story line and plot line in the same work. Usually the storylines comes first, serving as a background to the plot line, but not always.
I kind of found a niche for myself after 'Firefly'. I found something that I enjoyed doing and that I did well, but as far as how I seek out a part, it's always different. It's always something that lights you on fire when you read it. It might be just one scene, it might be one line that defines the character for you.
I always find it really flattering when people are going to line up and wait in line for hours to tell you how cool you are and to take a picture with you. I always have time for that. It makes you feel good.
Every time I step out to the ring, regardless if there's something on the line, I always feel like I'm out there trying to prove something, you know.
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