A Quote by Sal Vulcano

In comedy you have to be prepared and be specific and have a vision so your comedy feels organic and relatable and it's a lot of work to get to that point. — © Sal Vulcano
In comedy you have to be prepared and be specific and have a vision so your comedy feels organic and relatable and it's a lot of work to get to that point.
I've always thought that comedy was just another dramatic expression. I try to measure the amount of truth in a work rather than just looking at the generic distinction between comedy and drama. There's a lot of bullshit drama that leaves you totally cold. And there's a lot of wasted comedy time too. But when you get something honest, it doesn't matter what label you give it.
I don't think my comedy is that political. It's more social. But whatever. When you make comedy and you do stand-up, you work alone. Movies have to go under so much scrutiny. A stand-up special is a vision, and a movie is a consensus in a lot of ways.
In the movies I've done for Sony, they've never given me quadrant specific notes ever. They say "Keep making it. Just make the movie you want to do." Especially in a comedy because comedy is so tone specific.
I will do comedy until the day I die: inappropriate comedy, funny comedy, gender-bending, twisting comedy, whatever comedy is out there.
There's a very interesting article or symposium to be written on just the real difference between comedy filmmaking and non-comedy. Because, you know, when you work in comedy, you depend on audience screenings to tell you about your movie.
I think, you know, a lot of the business of comedy is taking your personal experiences and making them relatable to other people.
There's comedy in tragedy, and tragedy in comedy. There's always light and dark in most jobs. Whether it's framed as a comedy, drama or tragedy, you try to mix it up within that. You can work on a comedy and it's not laugh-a-minute off set. You can work on a tragedy that's absolutely hilarious.
Performing comedy in San Francisco to begin with is pretty wild. You've got to - you've got the human game preserve to play off of. And it's a lot of great characters everywhere. You work off that, and then you play the rooms, and eventually you get to a point where you're playing a club that is a comedy club, with other comics.
I love doing comedy. I find comedy quite hard work. Comedy's underrated, I think, by actors, you know? It's difficult to get it right and get it funny. I really enjoy doing it. I kind of wish I'd done it more. I can't complain. I've had a fair crack of the whip.
People seem to want to give 'Flowers' a comedy or a comedy-drama label. I suppose it's closer to comedy-drama, but it feels like it requires a whole new definition all of its own.
Comedy can take you a lot further in getting your point across. People are entertained, and then, by being entertained, they get your point.
It bothers me when people say 'shock comic' or 'gross-out' because that was only one type of comedy I did. There was prank comedy. Man-on-the-street-reaction comedy. Visually surreal comedy. But you do something shocking, and that becomes your label.
Neck-down comedy was no longer valid after the 1980s alternative comedy revolution. Everything became about the cerebral. And with that came positive things - it helped get rid of some of the sexism and homophobia - but it also meant a lot of physical comedy was lost.
I love comedy and did a lot of comedy in college. I was in an improv comedy group with my friends.
I love good comedy. I don't like bad comedy. Of course, nobody loves bad comedy, but there's a lot of bad comedy out there.
My experience - and it might be just the kind of comedy that I do, which is usually sketch comedy - is that there's a lot more texture and subplot in drama than in comedy.
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