A Quote by Mark Russell

You know when Jerry Ford gets the best joke, you know you're in trouble. — © Mark Russell
You know when Jerry Ford gets the best joke, you know you're in trouble.
Whenever you find yourself on the side of the majority, it is time to reform. "It ain't what you don't know that gets you into trouble. It's what you know for certain that just ain't true." Thinking that you know the future.
It ain't what you don't know that gets you into trouble. It's what you know for sure that just ain't so.
I know being an open, honest, outspoken person gets me into trouble all the time, but I don't know how to be any other way.
I can watch an episode of Jerry Seinfeld, and by the end, I'm just walking around my house, you know, talking like Jerry Seinfeld. 'What is that? What are you doing? Who is it? What's going' - you know, I just had that thing, when I grew up, I'd just start talking like people. You know, I always had that.
People try to put ownership on things: 'That's mine, that's my joke.' No such thing. Like if you tripped or stumbled and people go, 'Oh, that's Charlie Chaplin.' You know what I mean? You can't own a joke. You can be the guy that tells it the best, but you can't own a joke. Nowhere can you own a laugh.
I kind of joke with myself that you shouldn't be able to be a creative producer if you weren't a first AD. Because it is such fantastic training for really understanding what everyone does, and how the movie actually gets made. You have to know if you're the first you're kind of the set general, you're at the director's right hand, you know everything about how a director puts a movie together, you know everything about how a movie gets made.
Everybody gets told to write about what they know. The trouble with many of us is that at the earlier stages of life we think we know everything- or to put it more usefully, we are often unaware of the scope and structure of our ignorance.
I am kinda like, if I don't really know people I am a little passive and a little quiet, and you know most of my friends they know a different side of me, so I guess that's what kinda Twitter gets to see a little bit, things that I would say around my friends and joke around with.
I want to be like Ford Madox Ford. I want to be talking to somebody across a fire, and I want him to join me and listen to me, and if he is fidgeting in his chair, I know I am not doing my job. I am a storyteller, and I know most people like a story.
Jerry Ford is so dumb he can't fart and chew gum at the same time.
I like that we don't have to come out the first 10 minutes and score, you know, with joke, joke, joke. We can open it in a more novel way and keep playing different pranks as we go through the thing.
Women are my best friends, my best audience. If I look out from the stage and see a lot of men, I know I'm in trouble
And I watch all the dailies and I grade the jokes or the moments, you know, on a scale from... so I know exactly what we have. And so I can then go into the editing room and be like "I want you to do this moment, this moment, this joke, that joke. I'd like to see 3 versions."
You know, I liken it to - when you write a joke for somebody else, it's like you - you know, like the Wile E. Coyote dynamite plunger, where he pushes the plunger down and then you see the fuse go then there's an explosion in the distance? That's like writing a joke for somebody. When you tell the joke, you're in the explosion.
I don't know what was in his mind, but I do know Ford was stricken by what he had done, by hitting me.
At bottom the world isn't a joke. We only joke about it to avoid an issue with someone, to let someone know that we know he's there with his questions; to disarm him by seeming to have heard and done justice to his side of the standing argument.
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