A Quote by Michael Pena

I usually joke around, especially on set. — © Michael Pena
I usually joke around, especially on set.

Quote Topics

The U.K. and Europe in general seem to be a lot more patient. The U.S. are expecting 'joke joke joke joke joke joke joke.' They don't actually sit and listen to you.
When you people have a set up joke and the joke is set up straight and the words are just well written, I always say "C'mon, humans don't speak that way."
I can't stand not being able to joke around on set, so I have to.
When I'm writing columns, it's - all I'm thinking about is jokes, joke, joke, joke, setup, punch line, joke, joke, joke. And I really don't care where it goes.
A comic strip has a rhythm and a pattern, and you got to get in and out quick. So you set up a joke, tell the joke, and done.
Over at the Olivia Pope & Associates set, we're like middle school children. Every time there's a cut in the action, we joke and dance around; there's show tunes and fart noises.
When I was governor, if I told a joke in front of the press - I learned. I would go, "That was a joke, joke, joke," and I'd say it three times.
When I was working with Barry Sonnenfeld, I'd watch him set up a shot and talk to him about what he was seeing and what it was to shoot comedy. He told me that a lot of times with comedy, it's not just about getting the joke, but getting a reaction to the joke. That's the laugh - it's somebody's else's reaction to the joke.
When we're on set, we kind of joke around, and when we're rehearsing, we change up the scenes and make each other laugh. We lighten up the mood. The blooper reel is going to be amazing on 'New Moon.'
I've worked with a lot of people and I like to play with people when it's fun, and people that I have fun with independent of music, do you know what I mean? Where you can just joke and kid around, because you can joke and kid around with somebody and when you get in the pressure cooker of the studio then you can it's just something.
I think that the joke and the ghost story both have a similar set up in that you kind of set something up and pay it off with a laugh or a scare.
I always say, if I tell you a joke right now and it's funny, you laugh. Now, we set the lights, and I tell you the joke again, it's hard to find it funny the second time.
What you never want to do is have a story that doesn't track emotionally, because then you're going joke to joke and you're going to fatigue the audience. The only thing that's going to string them to the next joke is how successful the previous joke is.
Twitter is a good medium to lean how to write jokes. It pushes you to write a better joke in that, on Twitter, the first joke about something has already happened. You need to think of the second joke and the third joke.
Often, when you're in some of these writing rooms for... and the most restrictive is network television, right? They say, 'Wow, that's a great joke, but we can't do that. Okay, let's try the second joke. Oh, you can't do that one. But the third joke you can do,' and hopefully it will be great, but it will remind people of what the joke really was.
Lisa Joy is so incredible, and she's always on set making sure everyone is okay and being respectful. We have a zero-tolerance policy on that set [ in the Westworlds]. If anyone is inappropriate or makes you uncomfortable, they're literally gone in two seconds. It's no joke. It's very professional.
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