A Quote by Zooey Deschanel

I think that if you're serving yourself before you're serving a story then that's where you end up being not funny. It's not about being funny, it's about telling a story and then the comedy comes out of the situation, I think.
If a story is funny, and I made it up, then the big message is, `Aren't I clever?' .. If a story is funny and it actually happened, the big message is, `Isn't the world funny?' And actually I think that's a better message. I kind of want to think that about the world -- and it sounds less like boasting.
It's very dangerous for a storyteller to walk into a situation with a political agenda because you end up telling a story about issues instead of telling a story about people.
The song is about knowing the end result of every situation you're in, and being able to play it out in your mind and see it before it happens. It's about addiction, really, about knowing how it's all going to end up. In that sense, you're watching a movie of yourself all the time - and then you want out of that movie.
I don't do all the background and the worldbuilding before I start the story. What I do is I work out the bare minimum I need to start the story, and often that really is a bare minimum - it's a character in a situation, and I know nothing about the character, I know nothing about the situation, and then I think about it for a long time, and make notes about where I think the story is going to go and so on, but I don't really make notes to do with the background or the magic system or the world.
Sometimes when you're inside a story, it's almost better if you don't think too much about its wider cultural significance or if you don't think about how audiences might react to it. That takes you out of the reality of the situation you're committing to as you're telling the story.
I think because it is a very well-saturated story,episode of Justified in Hannibal, and we've all heard it in some frame of a story, we've heard the urban legend of waking up in a bathtub with a kidney missing. It felt like if we are telling an organ-harvesting story, it was really about quickly selling the iconography of an organ-harvesting story, and then being able to mask that as a perfect way for Hannibal Lecter to go shopping for his menu.
I never know when I am being funny, and the other way too. I don't think you can think about that. I don't think you can try to be funny. Some people are just funny.
The actors come in and they make characters their own and so Patrick and I have never been the kind to think that our script is the bible. We want to make sure that the story is told, that you stick to the story but if you have to make changes to the character then that's fine. A lot of times there are some funny one-liners, funny things that happen that are out of the ordinary. I like it.
We know story collections end when they end, as well - the pages serving as a countdown - but nevertheless the standard story anthology hews closer to what makes being human so hard: it reminds you with each story how quickly everything we are, everything we call our lives can change, can be upended, can disappear. Never to return.
My parents telling me that if there is a story you feel compelled to share, then you are responsible for doing that. You can't ask someone else to take on that story - or you can, but you have to deal with whatever the fallout is. If the story doesn't end up being told the way you originally heard it or that you feel it needs to be expressed, that's on you.
I think that people have to have a story. When you tell a story, most people are not good storytellers because they think it's about them. You have to make your story, whatever story it is you're telling, their story. So you have to get good at telling a story so they can identify themselves in your story.
I try to not think too much about how stuff gets seen as it's being done by a woman. Because if you think about it, then you end up thinking about how you're acting, and if you are thinking about how you're acting, then you are preoccupied and you're going to end up being insincere. You're kind of not present.
There's a story everywhere. Being bored to death someplace is basically a funny proposition. What you have to watch out for is you don't write a boring story about a boring place.
I'm really trying to just keep this internal, and be faithful to the story and the characters, and keep 99.9% of my brain there, serving the story. It's a great network. It's the golden network of cable, so it's totally an honor to be there and tell this story, but I try not to think about anything beyond that.
Phunny Business is a breezy, vivid, funny, star-studded and delightful valentine to comedy, entrepreneurship and the All-American impulse to make something out of nothing. The story of comedy club owner/inveterate dreamer Raymond Lambert and his heroic quest to create a safe, productive place for black stand-up comedians to hone their craft and find their voices isn't just a great Chicago story and a great comedy story: it's a flat-out great story, lovingly and engagingly told.
I don't do comedy. I think if a situation is funny you just play it for real and if it's funny, it's funny.
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