A Quote by Steve Carell

There's such a freewheeling nature to 'Second City,' and the greatest thing about 'Second City' was having a sophisticated audience night after night who appreciated what it was. They knew it wasn't all going to be great when you improvised, so they were very forgiving that way.
Touring is very grueling. It's very taxing on the body and living out of your suitcase, going from city to city, night after night. It's a tough job.
My stepfather had a connection with The Second City and told me I should go there. I woke up in a cold sweat one night and said, 'I'm moving to Chicago.' That's how I went to Second City.
I grew up in Chicago and was a huge fan of 'The Second City', so when I moved to L.A., I was looking for anything that resembled that... then I started 'The Groundlings', so I went to a show and it was very much like 'Second City'. I was so impressed that that same night I went backstage and I went up to the funniest person there.
The great trains howling from track to track all night. The taut and telegraphic murmur of ten thousand city wires, drawn most cruelly against a city sky. The rush of city waters, beneath the city streets. The passionate passing of the night's last El.
I moved to Chicago when I was 28, and I wasn't completely idealistic about going to Second City and making a living from comedy, but I knew it would be great for the resume.
I did Second City, and Nia Vardalos also did Second City, so I knew her from there.
When I graduated from college, I moved to New York and started doing improv because I read all about the early 'Saturday Night Live' guys having come through Second City and learning how to improvise, so I wanted to get immediately into that.
When we moved to England in 1986, I was ten years old and I didn't know anything about punk or hip hop. The only words I knew in English were 'dance' and 'Michael Jackson.' We got put in a flat in Mitchum, and the council gave us second hand furniture, second hand clothes and a second hand radio that I took to bed with me every night.
'25th Hour,' like a lot of my films, takes place in New York City. I've been very fortunate to make films in the city that I live. I mean, it's great going home at night instead of being on location.
Right, because they're looking at also organizing the Sunni tribes up around Mosul to take back that city as well. That's the second largest city in Iraq. That's going to be a very, very tough fight. And the Shia militias were not used in Ramadi, and we're told by the Iraqi generals that they don't want any Shia militias up in Mosul, either, to take back that city. So - but again, that's going to be a very, very tough fight.
Second City Las Vegas is very different from Second City in Chicago on the main stage, where they do improv sets. That's how they kind of hone material, kind of work up to new material.
I came up through Second City, so I'm used to playing 20 characters every night who are very different from each other. I wouldn't want my career to be any different.
If you want to know how important Portland is to me, there's no Saturday night gigs here. They weren't available. So our whole thing coming into Portland, which is going to be different from anybody else, any other city, is every night is Saturday night.
I thought of Second City as just the greatest therapeutic job anybody could ever dream of having.
Night after night in the '50s, I traveled all over New York City. The promoter had 10 acts, and the winner each night would get five dollars; second place would get three dollars, and third place would get two dollars. He always put the best acts on last so the people wouldn't walk out, and the worst acts went on first. He always put me on first.
I would love to carry on with Second City and see where that takes me, but it's always been a dream to work on 'Saturday Night Live' and do films.
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