A Quote by Paul W. S. Anderson
I've always felt that there's a lot of similarity between doing a comedy and doing a scary movie because jokes and scares are all about timing. If you give the punch line too early or too late, the joke falls flat. And it's the same with a scare.
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The key to a good horror movie is what happens between the scares. The scares aren't the tricky part. If you're involved in what's going on in between, the scare is going to trick you. If you're not, the best scare in the world will not be scary.
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.
My deepest fear about doing TV, especially about doing a network comedy, was what if it felt too surface-y? What if it felt too jokey?
I think, in comedy, timing is everything. You and I could tell the same joke, but if one of our timing is off, it won't be as funny. You've gotta know when to deliver your punch-lines.
Since my act is a goofy reflection of what's going on in my life, I started doing pot jokes, and I noticed that audiences invariably love pot jokes. Even people who don't smoke pot think it's a funny subject. So when I started getting laughs, I started doing more material about it. When people come to see my shows, there are a lot of stoners in the audience, but there are also a lot of people who just like me. So I try to give a healthy mix, where people aren't going "There are too many jokes about pot!" or "There's not enough jokes about pot!"
A lot of times I think people, when they're doing a movie that's a family movie, they're worried about this being too esoteric or too dark or too weird.
I have a motto: it's never too late to give up. It's never too late to give up what you are doing, and start doing what you realise you love.
The real scares on CNN, etc. and the scares in a movie, like 'The Purge,' are totally different. One of the ways you can tell when someone, whether it's a film maker or executive or producer, wants to make a scary movie but doesn't understand that distinction is they'll want to recreate too much of what's on TV.
How do you know you told a good punch line, a good joke? It's because they laugh. How do you know you've got a good scary punch line? It's because they jump out of the seat or scream. So the best reward is one you can listen to.
It’s always about timing. If it’s too soon, no one understands. If it’s too late, everyone’s forgotten.
Acting is always sort of the same - like you want to be - you know you're pretending and you want to make it as real as you can. That's the similarity. The mediums other than that are completely different. I mean you know with camera work you're doing really small detailed work and you know if you do anything too big you've sort of failed. And with stage, especially with the play I'm doing right now, I'm doing a farce, and it's so over the top that you can't actually be too big. So it's just completely different.
In the end, perhaps we should simply imagine a joke; a long joke that's continually retold in an accent too thick and strange to ever be completely understood. Life is that joke my friends. The soul is the punch line.
I don't like my wrestling or entertainment in general to be too clean or predictable for me as a fan. When I say clean, I'm not talking about dirty jokes, middle fingers and stuff like that. I'm actually not even a big fan of that. A lot of people talk about the attitude era being so great but a lot of it was terrible crap, sex jokes and over-the-top terrible bad comedy. It was Jerry Springer-like. They made a joke about a woman's breasts. Hilarious, but where's the wrestling? I look back on a lot of stuff now, and I'm like where's the wrestling? It's just a lot of crappy jokes.
About a year after I moved to Los Angeles, I decided I wanted to be a joke writer for a late night talk show. So I met with a late night joke writer and he told me that I should start by doing stand-up comedy, because that would really hone my sense of humor and joke writing ability. Eventually I took a stand-up class and a few months later I had a seven-minute act.
I don't ever want to be doing the same sort of thing, I never want to be typecast, because I have way too much to give to be sort of, to always be the hot chick in the movie.
Part of the criteria for doing a project is that it's scary or challenging because at some point you go, 'It's too scary; it's too challenging. I don't want to do it.' But things that seem easy are never any fun.
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