A Quote by James Lapine

It so fascinates me how we always laugh when somebody falls on a banana peel, how comedy and injury are often so interwoven. I've always been a sucker for that. — © James Lapine
It so fascinates me how we always laugh when somebody falls on a banana peel, how comedy and injury are often so interwoven. I've always been a sucker for that.
I always say, 'If you can't give a reason for the banana peel being in the alley, then don't have the comic slide over it.' Do you understand what I mean? First explain how the banana peel got there quickly. And then there's a reason for all the comedy.
I love seeing somebody act real earnest and serious, like Jackie Gleason. He makes me laugh because he reflects back to me my own serious-mindedness and how ridiculous it all is. It's always easier to see somebody else in that position than yourself, and you laugh. It's like the classic slipping on the banana peel, or someone getting hit by a pie in the face. Why do those things make us laugh? Is it from relief, like: Thank God it wasn't me? Or is it something else: I'm being very serious now. I'm pontificating earnestly and solemnly about-POW! PIE IN THE FACE! The bust-up of certainty.
When you slip on a banana peel, people laugh at you; but when you tell people you slipped on a banana peel, it's your laugh. So you become the hero rather than the victim of the joke.
When you slip on a banana peel, people laugh at you. But when you tell people you slipped on a banana peel, it's your laugh.
You have to give people permission to laugh. That's why they would always cut to the banana peel in the Laurel and Hardy movies.
I want to sit down, and I want to laugh. Nothing works better for me than watching somebody slip on a banana peel.
We've always been interested in the commentary on politics and society and how comedy always sort of cuts that with a nice laugh, and the perspective it brings.
I laugh a lot in horror films. If I'm scared in a horror film, I try to think about what's scaring me... particularly, if it's a bad movie, but something they're doing still works. It's the same way I look at comedy. I've always had an intellectual view of comedy, and what makes people laugh, and how does it work.
Class has always been a staple of British comedy. We've always been able to laugh at it. When British shows are translated to America, the absence of the equivalent class structure there often causes them to fail. But over here we've always got comic mileage out of it.
I've always been interested in pandemics, where they come from, how they arise, and the key feature which really fascinates me is that the biology of the bug is the least of it.
I always wondered, like, you know how you go to the family barbecue, and your uncle is that funny guy that you laugh at because he's family? That's how I felt with 'Fighter and the Kid.' People would laugh at my stuff, but it was always tough for me to tell. I just needed to see if there was something going on.
Anything can happen. The great banana peel of existence is always on the floor somewhere.
When I see somebody, I try to beat him on both ends of the floor. It's the game within the game that you've always got to win. That's always been my mindset. That's how I was taught how to play the game. That's how I learned. And that's what I enjoy.
It's so easy to confirm what you believe about somebody by the numbers how fast they are, how tall they are, how strong they are, how smart they are. And yet football is always been a game where heart, determination and strength of will and character has so much to do with it.
The why of murder always fascinates me so much more than the how.
Throughout my football career, I've always been somebody who's been very aware, and I know when the camera is on me, and I know how to be polished. I can see how that might come off as disingenuous.
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