A Quote by Steve Martin

I realized that comedians of the day were operating on jokes and punch lines. The moment you say the punch line, the audience either laughs sincerely or they laugh automatically or they don't laugh. The thing that bothered me was that automatic laugh. I said, that's not real laughter.
I'm honored that other comedians like what I do. That means the world to me. But at the same time when I'm on stage I'm not just trying to make the comedians laugh - I'm also trying to make the audience laugh. I want to make everybody laugh.
When people see me in movies, they think it is easy to say punch-lines and make them laugh.
If you have the right voice and the right delivery, you're cocky enough, and you pound down on the punch line, you can say anything and make people laugh maybe three times before they realize you're not telling jokes.
"I've found out why people laugh. They laugh because it hurts so much... because it's the only thing that'll make it stop hurting" ... "But that's not all people laugh at." "Isn't it? Perhaps I don't grok all its fullness yet. But find me something that really makes you laugh sweetheart... a joke, or anything else- but something that gave you a a real belly laugh, not a smile. Then we'll see if there isn't a wrongness wasn't there." He thought. "I grok when apes learn to laugh, they'll be people."
Ninety-nine percent is in the delivery. If you have the right voice and the right delivery, you're cocky enough, and you pound down on the punch line, you can say anything and make people laugh maybe three times before they realize you're not telling jokes.
I'd like to think I'm a little more memorable or specific now. People laugh at me in a way they wouldn't laugh at another comedian, rather than being like, "Okay, who's the next joke-slinger? Give me some jokes so I may laugh and go about my day!"
We are a nation that has always gone in for the loud laugh, the wow, the yak, the belly laugh, and the dozen other labels for the roll- em-in-the-aisles gagerissimo. This is the kind of laugh that delights actors, directors, and producers, but dismays writers of comedy because it is the laugh that often dies in the lobby. The appreciative smile, the chuckle, the soundless mirth, so important to the success of comedy, cannot be understood unless one sits among the audience and feels the warmth created by the quality of laughter that the audience takes home with it.
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.
I like the purity of stand-up because it is all about whether people laugh at your jokes. Either they laugh or they don't.
Something about not waiting for the laugh of a laugh track allows you to take lines that otherwise might be seen as just direct jokes, and make them seem realistic.
The best way to make friends with an audience is to make them laugh. You don't get people to laugh unless they surrender - surrender their defenses, their hostilities. And once you make an audience laugh, they're with you. And they listen to you if you've got something to say. I have a theory that if you can make them laugh, they're your friends.
Don't let a single comic moment pass you by; then help the audience get the laughs. Give them permission to laugh by holding for laughter and by letting them know early on what they're in for. In the first few moments, the audience is gathering information, looking at the scenery and costumes. Create a comic moment as soon as you can.
A good, real, unrestrained, hearty laugh is a sort of glorified internal massage, performed rapidly and automatically. It manipulates and revitalizes corners and unexplored crannies of the system that are unresponsive to most other exercise methods. With the fearful strain that is on me night and day, if I did not laugh I should die.
The real challenge in acting is in comedy. It's easier to get that gasp in a drama. Not easy, because you still have to find that emotional pitch. And when you do something in drama and you hear that sob from the audience it's so fulfilling. But as a comic actor, when the laugh is supposed to come and you punch in that line and nothing happens it is dreadful. It's horrific and you feel like dying right there.
My brother was a great audience, and if he liked the picture, he would laugh and laugh and laugh, and he would want to keep the picture. Making people laugh with an image I had created... what power that was!
The audience works as such a mob. They either all laugh or all don't laugh, and, you know, changes from audience to audience.
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