If I think something's funny, I try to mold it into a joke as soon as possible. Once I have a joke, I say it a million different ways on stage until I find a rhythm and it feels like it's as good as it can be.
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.
I actually enjoyed the struggles that we had trying to shape 'Blood', to get the pacing right, the rhythm of it.
I've always felt that a really good joke, a really good one-liner, is a really good line of poetry. It's imagistic, it's compact, there is a rhythm to it.
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 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.
Books leave gestures in the body; a certain way of moving, of turning, a certain closing of the eyes, a way of leaving, hesitations. Books leave certain sounds, a certain pacing; mostly they leave the elusive, which is all the story. They leave much more than the words.
Have you ever heard a good joke? If you've ever heard someone just right, with the right pacing, then you're already on the way to poetry. It's about using words in very precise ways and using gesture.
Movies are pieces of film stuck together in a certain rhythm, an absolute beat, like a musical composition. The rhythm you create affects the audience.
Humor is the hardest thing to do. Action is so much easier, because you're just trying to establish the mood, and a pacing, and a rhythm, and an energy. Where, in humor, comedy is so subjective.
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.
There's a rhythm to script [ in "I Don't Feel at Home in This World Anymore"], as well, especially the pacing of it. But there definitely were times when I would say something and [ Macon Blair] would say, "I didn't think to deliver it like that" or, "I didn't think it had that meaning." And he'd say, "I like it. I think it's good." So he's open. He's not battering it into you.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
Man is an organism, not a mechanism; and the mechanical pacing of his life does harm to his human responses, which naturally follow a kind of free rhythm.
I had an awful joke about Auschwitz I drove everybody crazy with that joke. But that joke makes me feel good. You know what "cuit" means? When something is cooked. It's a joke like that: "What are the birds doing when they fly over Auschwitz? 'Cuit! Cuit!'" It's awful, but it's desacralizing. For me, it's good.
The rhythm is below me, the rhythm of the heat. The rhythm is around me, the rhythm has control. The rhythm is inside me, the rhythm has my soul.