A Quote by Martin Lawrence

As long as there's Big Momma, we're going to bring you comedy. — © Martin Lawrence
As long as there's Big Momma, we're going to bring you comedy.
Comedy has sort of been my life-long obsession. I literally obsessed over comedy. I really didn't play sports - for me it was just comedy, computers and chess club; those were my big things.
When you're going for a big studio comedy, the joke tally better be pretty high, and you better have some big comedy set pieces. That was one of the issues when I was trying to get 'Swingers' made for the first time, which is that there weren't any broad comedy set pieces.
I come from big families. My momma was the oldest of three and my daddy was one of six - and I've always loved children. They bring a lot of joy to the world and they make us adults look at things in a better way.
Even the shows or movies that we know are not going to change the world, I love this. I love 'em. I'm a movie fan. I'm a nerd of any kind. I love a big studio comedy as much as I love the teeniest tiniest of indie. I'm not a snob in that way. I really do like a big, big studio comedy.
I'm so not scary. I'm a pussycat. But what are you going to do, right? I mean, these cheekbones, and I guess these eyes, and the big nose... this is what my momma and my poppa gave to me, and that's the deal.
I've always been entranced when it came to musical comedy; it's probably my favorite thing. It's a real true American form, and it's big, like Shakespeare big, when it's right. It's loud, and it's big: you have to be ready vocally and physically. It can bring people to their feet and can be as thrilling as a circus.
Horror is like comedy. Woody Allen's comedy is going to be very different from Ben Stiller's comedy which is going to be different from Adam Sandler's comedy which is going to be different from Judd Apatow's comedy. They're all comedy, but they're all very different types and you can enjoy all of them. Horror is the same way.
You just make sure you don't screw it up. It's going to work as long as you don't mess it up. Hopefully you have plenty of those moments in a big comedy.
When I was studying comedy in Chicago, it wasn't long after 9/11. There were a lot Middle Eastern comedians who were doing bits about hailing cabs and being terrorists. So the first two years, I didn't do any of that because I wanted to separate myself from those guys. But race is a big part of who I am, and it should be a big part of my comedy.
My own momma turned her back on me, and that's my momma.
In Canadian comedy, you'll almost never see guns. If you bring a gun into a scene, it's like, 'Whoa! Wow, how are we going to deal with that!' Guns in an American comedy are a given. Violence in America is used in a much more cavalier way.
When I was nine years, growing up on the south side of Chicago, in the ghetto. The Robert Taylor Projects. I came home from school, I showed my mother a picture and said "Momma, that's you in the rocking chair. There's daddy over there." I said, "Momma, one of these days, I'm gonna be big and strong. I'm gonna be a football player. I'm gonna be a boxer. I'm gonna buy you a beautiful house and I'm gonna buy you pretty dresses." That's all I want to do in life.
I was considered a comedy magician. And - how do I put this without sounding egotistical? - it didn't take me long to realize that comedy magicians usually couldn't do comedy or magic.
I don't really have any opinion about my performance in 'Big Momma's House.'
I love to bring humour into my work. Because comedy is not a huge part of the art world. And big-business film takes itself very seriously.
Big comedy is good, I like things that are big, but good comedy has to be truthful I think and has to reflect some sort of reality.
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