A Quote by Josh Radnor

There are just things you can explore in a movie that you can't in 22 minutes with a laugh track. — © Josh Radnor
There are just things you can explore in a movie that you can't in 22 minutes with a laugh track.
It's a mistake to just go make a movie where the whole thing is talking down to the kids like, "Ok, we gotta bring the IQ of this movie down because it's a kids movie" You don't have to do that, kids can laugh and parents can laugh at different parts and that's fun, and you see that with all of the great kids movies.
Something about not waiting for the laugh of a laugh track allows you to take lines that otherwise might be seen as just direct jokes, and make them seem realistic.
Catharsis isn't art. You can't rely on catharsis to get a laugh. Because guess what? People do laugh when something's shocking, but that is, to me, the absolute fakest of laughs. That's not something that sustains a television series, or a movie, or even 45 minutes of a stand-up set at Carolines.
We don't have a laugh track, which helped Seinfeld a lot, and did kind of tell people when to laugh. It just made it a lot easier. Our show doesn't have that, so it's hard for Middle America to catch on.
The ending is really the most important part of the movie. If the first hour and 20 minutes is terrific and the last ten minutes stinks, everybody walks out of the theatre and says: 'That was a lousy movie!'
The more frightening and sort of dark and oppressive a movie is, the more free you are to explore the supernatural and explore faith. The two just somehow go hand-in-hand really nicely.
The movie cheerfully offends all civilized notions of taste, decorum, manners and hygiene... The movie is vulgar? Vulgarity is when we don't laugh. When we laugh, it's merely human nature.
Every movie that I do, if you analyze the stories, you can notice that in each story, that within the movie after the first 15 minutes, it could fall apart. Or every 10 minutes it has the chance that you lose the thread. On the other hand, if you succeed in putting them together, then the movie looks spontaneous and more like cinema.
There's some moments in your life where you're just like, 'I need something just funny.' That's the noble thing you can do. Make someone forget about their life for 22 minutes.
A touring comic's typical day roughly amounts to an hour of being laughed at and 20 minutes of being photographed. The other 22 hours and 40 minutes are spent in silence.
I have an aversion to laugh tracks - the moment I hear a laugh track, I go to another channel.
You can't have a laugh track that sort of tells the audience when to laugh and, you know, it's difficult to find those moments.
I really want to make something that makes people think. I love that movie 'Tiny Furniture' that Lena Dunham made. I just love that movie, and I laugh at that movie a lot, but I also felt a lot too. I'm just inspired by people like that.
That is one thing I really hate about working in TV - you have to shape episodes to exact time-lengths, do like 22 minutes, and it is just so against what you are making.
One thing I always loved about vinyl was the length of a side, around 20 or 22 minutes. That's the perfect length of an attention span for listening time, you know? You could listen and give it all your attention. Put on something that's 70 minutes, and nobody's sticking around past the first 20 or 30 minutes.
Editing is fun for me. That's where you make things happen. Filming a movie, I just try to set things up and see where it goes. Editing is a puzzle. I often don't even know what I'm trying to say. I'm just trying to make myself laugh. That's it. It's musical, or something.
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