A Quote by Skylar Astin
I was open to anything. That doesn't mean I would do anything, it just means I was open to anything. I've met for dramas, single camera comedy, multi-camera comedy. I take each script as an individual project.
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In Yiddish, we say, 'Nisht ahin un nisht aher.' It's neither here, it's neither there. I get more nerves than on anything I do when I'm doing multi-camera. But single-camera, I love very much.
It would be great to do another television show that was a multi-camera because the hours are so wonderful and you can be a good mom at the same time. The problem is, there aren't a lot of multi-camera shows that I personally like. My aesthetic is more geared toward single-camera shows.
I don't want to carry big things around with me. I'm lazy. The snapshot camera, you just carry it around and take the picture. You don't need to think about anything. People in the street are not going to wait for you with a big camera. They would freak out. With a snapshot camera, they are comfortable.
I was open to anything, but comedy was what I really loved.
I'm open to anything, dude. I'm open to anything. That's what I would ask the aliens. I'd be like, "Do you watch 'Game of Thrones?'"
I love bad comedy more than I love good comedy, so I love open mics. Or I used to. But the thing that delights me more than anything else in an open-mic performer is when the comic has one joke that requires some kind of prop. But only one. The prop is always produced very awkwardly, and it never, ever pays off. The resulting embarrassment is savory and delicious.
I'd like to do a comedy, actually. I think it would be great to do a sitcom or something like that. I'm pretty much open to anything.
Comedy is all about the joke. Comedies usually don't do anything fancy with the camera [or] the lighting. It doesn't matter. It should never be fancy.
The majority of my background is multi-camera format, which is very broad and a very arch perception of reality. Whereas single camera tends to be more truthful and a little more intimate of a medium. Friends was an education in intelligent comedic banter; in intelligent vernacular. It was an education in scene study. It was an education in group dynamic. I came out of there with a masters degree in comedy.
I would love to play a normal human being with a little bit of a comedic bend that had a love interest. I would love to explore comedy, like a half-hour kind of single-camera comedy. I think that would kind of suit me best.
[on making the transition from the comedy "Mary Tyler Moore" (1970) to its dramatic spin-off series "Lou Grant" (1977)] We were really worried about changing over from a three-camera, half-hour comedy to a one-camera, full-hour drama. The audience wasn't ready for the switch - even CBS billed us in their promos as a comedy. In fact, the whole thing was impossible. But we didn't know that.
It is said that the camera cannot lie, but rarely do we allow it to do anything else, since the camera sees what you point it at: the camera sees what you want it to see.
I don't think because a story has humor in it means it's brief. For some reason, people think anything that's 30 minutes is a comedy, comedies can be longer or shorter, so can dramas.
The one thing that I'm really obsessed with is multi-camera comedy. It is a form that is unique to network television.
Anyone can write. But comedy, you've got to do some writing. You get one comedy script to every 20 dramas.
Multi-camera's fun because you have the immediacy of the audience and just being able to tell the story more or less straight through. The thing I like about single-camera is that you have the luxury of shooting a lot of different options.
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