A Quote by Jon Stewart

When you're accustomed to doing stand-up, so often you're the only person onstage and it's all your thing. It's very gladiatorial. Obviously, when you're in a scene with somebody, you're supposed to listen and react - and that's a bit of a transition.
If you feel like you're doing terrible in a scene, that usually means that you're not listening because you're too preoccupied with yourself... you're not listening to your scene partner. If you listen, you're naturally going to get that response that the camera's going to pick up because you just react.
Lee Strasberg taught me different ways in which a scene can be approached so that it is perfect. Acting schools also open you up - you react differently to each scene. It makes you a very reactive person.
You have to fail, man, but you cannot allow failure to stop you from doing what you must do. Failing is just as good as succeeding in a lot of ways. It's how you react to it all. You can react to success the wrong way and be a total failure. Or you can react to losing with your whole heart, learn from it, and be a huge success. In stand-up, I've learned to know when I'm burning it up or when I'm being so-so. That's experience. I learn every single time I'm on a stage.
You are preparing yourself for a scene, and the most important thing is to remain emotionally available and remain in the moment with your scene partner. You don't want to let your own self-consciousness block the flow of creativity that's coming out so that you can act and react, and play what the scene is all about.
Stand-up is not just an American thing anymore. It's global. In some places, stand-up comedy is brand new. South Africa has only had a scene for 15 years.
I think that, for me, my favorite thing to do is perform standup onstage. Everything else I do is for the exposure to do more stand-up onstage, and for the money, and for the health insurance.
When you're doing stand-up, you want to stand onstage and, to the extent that you can, uncomplicatedly entertain.
I started doing comedy just as myself, because I thought, "This is what's expected, you're meant to tell stories and do observations." And then I started to realize that I wanted to mix it up a bit, so I started to doing songs, and I had a little keyboard onstage and would bring in little props. Then I thought about the idea of talking about a character and becoming the character onstage. So, it sort of morphed into being stand-up that was more character based, and I found that's the stuff I got the better reaction from and was more exciting for me.
How do you listen? Do you listen with your projections, through your projection, through your ambitions, desire, fears, anxieties, through hearing only what you want to hear, only what will be satisfactory, what will gratify, what will give comfort, what will for the moment alleviate your suffering? If you listen through the screen of your desires, then you obviously listen to your own voice.
I have this fantasy of relaxing and doing nothing. But I'm obviously very passionate about stand-up comedy. I mean, I keep doing it. So I must be really into it.
Love has within it a redemptive power. And there is a power there that eventually transforms individuals. Just keep being friendly to that person. Just keep loving them, and they can't stand it too long. Oh, they react in many ways in the beginning. They react with guilt feelings, and sometimes they'll hate you a little more at that transition period, but just keep loving them. And by the power of your love they will break down under the load. That's love, you see. It is redemptive.
And I not only have the right to stand up for myself, but I have the responsibility. I can't ask somebody else to stand up for me if I won't stand up for myself. And once you stand up for yourself, you'd be surprised that people say, "Can I be of help?"
I not only have the right to stand up for myself, but I have the responsibility. I can't ask somebody else to stand up for me if I won't stand up for myself. And once you stand up for yourself, you'd be surprised that people say, "Can I be of help?".
Often if you are very, very close with someone, sometimes it does not read. In effect, your dynamic onstage is defused. You share too much onstage. There's sort of a blurring of behavior that doesn't read to the audience as chemistry.
You know, in Hollywood you know when somebody is getting pregnant. It's supposed to be this beautiful scene: the rays are coming in and you have these beautiful perfect bodies lying on top of each other and there's the room glowing in one person's eyes and the sun coming up over the other person's shoulder.
Most actors work on a scene, I try to find out who the character is. So when a scene or a moment comes, I react the way she would react.
This site uses cookies to ensure you get the best experience. More info...
Got it!