A Quote by Tig Notaro

Stand-up is very broad strokes, kind of a skeleton of a story or something. — © Tig Notaro
Stand-up is very broad strokes, kind of a skeleton of a story or something.
Most of the films I myself like don't do very well. Every director, he has a choice, whether to go for subtlety and try to articulate every minute detail, or to go for the broad strokes and hope that the people will fill in between the lines. I tend to go for the broader strokes.
I think Westerns are always so great for clearing out the clutter and the ambiguities, and getting right to the broad strokes of that kind of situation.
Anyone who is drawn in broad strokes either negatively or positively is generally not very interesting to play.
When introducing a character, you're usually better off sticking with broad strokes. The important thing at that point is not what color hair someone has or how tall they are, but rather, what kind of person they are.
Yeah? Can you draw a skeleton riding a motorcycle with flames coming out of it? And I want a pirate hat on the skeleton. And a parrot on his shoulder. A skeleton parrot. Or maybe a ninja skeleton parrot? No, that would be overkill. But it'd be cool if the biker skeleton could be shooting some ninja throwing stars. That are on fire.
Almost all great painters in old age arrive at the same kind of broad, simplified style, as if they wanted to summarise the whole of their experience in a few strokes and blobs of colour.
Actually I think Art lies in both directions - the broad strokes, big picture but on the other hand the minute examination of the apparently mundane. Seeing the whole world in a grain of sand, that kind of thing.
One of the things that I was kind of holding on to from 'The Daily Show' was there was an exhaustion that I would feel because we just kind of got caught up in the news cycle. You tell a story, and that's an interesting story, and then the next day we have to drop it and talk about something else. That's so unfair to the story and the people.
The book is called 'Thanks for Nothing' and it's really the story of how I got into comedy and traces back every strand in my life that is relevant to that story. It's kind of an autobiography but isn't, as it stops about 25 years ago. It goes right up to the first time I do stand up.
I'm good at the broad strokes but hopeless at the details.
In terms of the pilot, you have to introduce a lot of characters in a very short period of time, and you have to paint with slightly broad brush strokes because you just need to give an audience an idea of who these people might be.
The art of the dramatist is very like the art of the architect. A plot has to be built up just as a house is built-story after story; and no edifice has any chance of standing unless it has a broad foundation and a solid frame.
Effective visions are lived in details, not broad strokes.
The Obama foreign policy, in broad strokes, has been a disaster.
In stand-up you can go either way. It's live. Somebody might say something in the crowd, you might respond to it. But in a movie you could be spontaneous too. But you pretty much have to stick to that story or that scene or that script, but in stand-up you can go wherever you want to. It's more freedom.
Being sensitive to the problem of women is just another symptom of the quality of movies: I don't think you can do anything that's very sensitive. Everything's sort of broad strokes and big gestures - adventure things that boys, guys want to see.
This site uses cookies to ensure you get the best experience. More info...
Got it!