A Quote by Mindy Kaling

Comedy writers have the most fragile egos. — © Mindy Kaling
Comedy writers have the most fragile egos.
I'm a big believer in comedy writers. I've always defended the honor of all comedy writers. It's extremely difficult, but I've always felt that comedy writers far more easily can move toward drama than vice versa.
You're gambling with something vital. Most writers get smashed egos.
Fragile egos are put on the line every day.
The work I'm doing on the screen differs from that of anyone else. My comedy is of a peculiar nature...no writers have been developed along the lines of my type of comedy and this is why I sometimes have differences with writers, supervisors and directors alike.
It seems that, culturally, young people function more in groups. They know each other through digital media. All the young comedy people who work in TV are really used to working at the table with lots of writers around. They're comfortable in the group; they don't assert their own egos over everyone else.
Some teachers should be put in prison for the way they either take advantage of women in their classes or destroy fragile egos. Be careful who you ask to help you when you're in the arts.
Writers of comedy have outlook, whereas writers of tragedy have, according to them, insight.
I was taught by a lot of great comedy writers to go for the reality in a role, and the comedy will come through.
Comedians are sometimes resentful of their writers. Probably because it's hard for giant egos to admit you need anyone but yourself to be what you are.
If the individuals who make up a group have personal egos, and their identities lie in these egos, then their egoic identities will shift to the group. It might look as if they are losing their personal egos, but the ego simply shifts to the group.
Like, your body has to get used to being in front of people. Like - and you have to be like - you have to be kind of a ham, you know? Like, the thing about writers is they're generally self - comedy writers - self-loathing, sort of play small. And as a, like, performer, you have to think like a comedy writer but act like a performer.
For comedy reasons, any place we can have really big egos and very high stakes is a great thing to go for.
It's the band that really counts and not our egos. Egos probably destroyed more bands than anything else did, and that's something we want to avoid at all costs. We want to give the audience something real, something spectacular, and if it would be about egos, it would hardly be worth their time.
I didn't want to do comedy again. It is way harder when you are doing comedy. You can't just concentrate on the character and the plot. In comedy, the writers, instead of obsessing about character and plot, obsess about the jokes.
[Robert Smigel] is one of the greatest comedy writers in the last 50 years. "TV Funhouse" and Triumph and all those sketches.He's really unique, and he has an amazing comedy mind.
Without writers, none of the entertainment would exist. It starts with writers. Writers are the most important piece of the entire puzzle.
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