A Quote by Kumail Nanjiani

If you do a sketch, that's a very short narrative. Stand-up, it's bit-to-bit, minute-long narratives. — © Kumail Nanjiani
If you do a sketch, that's a very short narrative. Stand-up, it's bit-to-bit, minute-long narratives.
But long story short, I didn't start doing stand-up because I wanted to have a TV show or be an actor or even wanted to write sketch comedy. I got into stand-up because I love stand-up.
I'm not a long movie person. I have a very short attention span. If you give me a 90-minute movie, that's perfect. When it gets to be two hours, that's a little bit too long for me.
I'm a big believer than a great bit is a great bit - if I go and see someone I love, like Robert Klein. I want to hear some classics and some new stuff. But a great stand-up bit takes a long time to really polish and perfect, and they're beautiful things when they're done.
Having made films, I know very well that the scope of the average 90- to 120-minute movie is about the same narrative heft as a long short story or a novella.
There's a bit more of a safe distance when you're making a narrative movie, a bit more perspective. Audiences can separate themselves from the harsh reality of the facts a little bit more and think: 'Okay, how do I consider this?'
The way the educational system in Russia works is studying a foreign language is part of the program, so by the time you get to the age of 10, you pick up another language. I speak a bit of Russian, a bit of English, a bit of Spanish a bit of French.
You can't all of a sudden go to sleep one night and wake up Martha Stewart. It's bit by bit by bit.
I sometimes think that perhaps our minds are too weak to grasp joy or sorrow except in small things...In the big things joy and sorrow are just alike - overwhelming. At least, we only get them bit by bit, in tiny flashes - in waves - that our minds can't stand for very long. p 199
No, I never really set out to be a stand up. I wanted to be a writer of some sort. I thought I'd do a bit of stand up and hopefully that will lead to stuff and little did I know it kind of snowballed. Before I knew it I was doing stand up 300 nights a year.
No matter how well or how bad you play, when you have a chance of winning and you come up a little bit too short, it obviously hits you a little bit. It stinks.
When you're in the studio, you've got a narrative for what goes on, you might switch on a bit of gear and it might not work as you intended or come out a bit wrong, and you try and exploit it.
I'm a huge sketch comedy fan, and I think my love of sketch is reflected in my stand-up in that I do a lot of vignettes and voices and characters.
For writing stand-up, I have to have a little bit of anger and frustration to be motivated to do it. Stand-up, for me, comes from kind of a hostile engine.
Kill Bill is one of my favorite movies. It has this gritty feeling to it, and it's got a little bit of everything - a little bit of western, a little bit of samurai, and a lot of this very cinematic violence that I personally think is very entertaining.
The short hair fits my personality more. I think maybe, with long hair, it was a role - I was playing dress-up a bit.
I had never done a 90-minute play with no intermission, so it is a bit like you get onto the train and you don't get off until it's over - and it's over very quickly, so don't miss a moment of it. That experience is very rare and specific so don't miss a minute, because there aren't very many minutes of it.
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