A Quote by Sean Hayes

I don't think comedy necessarily comes from a dark place. But I do think what a lot of us have in common is that, growing up, being funny was a coping mechanism. — © Sean Hayes
I don't think comedy necessarily comes from a dark place. But I do think what a lot of us have in common is that, growing up, being funny was a coping mechanism.
I think being funny was a coping mechanism because I was always the new kid in school.
I certainly do believe that a lot of comedy comes from awkwardness and embarrassment - pointing out the ways things are uncomfortable. Definitely the stuff that interests me. I don't necessarily think that comedy comes from a dark place, like you have to be a strung-out heroin addict. But I don't think it comes from happiness, that's for sure. It comes from frustration and suppressed rage, and wishing the world were different.
Because I was familiar with Taika's Watiti work and there's a very subversive, funny streak amongst all of them. I don't think he turned [Hunt for the Wilderpeople] into a sort of drama, there's too much dark material underneath it for it to be a comedy; it wasn't designed to be a comedy. I think it's a comedy... I think it's a drama that's funny; which is different.
Comedy is a coping mechanism, and it helps us stay alive.
I would love to do a comedy, but comedy probably in the sense of a dark comedy like 'Californication,' that sort of thing. Yeah, sure, I think I'm funny.
I think having imaginary friends is an amazing coping mechanism. It's pretty wonderful, and it makes a lot of sense to me.
I think guys, because we share a history growing up of being stereotyped, because there are fewer of us in the dance world, that contributes early on to a bond among us. A lot of us share stories of being harassed or teased growing up - there's a certain deep camaraderie that's formed through that shared struggle.
All comedy is funny because it tells us truths that we recognise through laughter, but that doesn't mean it can't be unnerving. Think of 'Fawlty Towers'; it can be very, very dark, but by God, it's funny. The two things are not in opposition.
My humour is a mix of my parents'. I get the chatty, anecdotal stuff from my dad and the filth from my mam, Valerie. She has a very dark sense of humour, I think from having grown up with disabilities. It's a coping mechanism. She had polio when she was eight and has been in a wheelchair for about 20 years.
I like comedy but I guess I don't think [my art] is that funny, either. It's too dark and a bit weird in places to be genuinely, uniformly hilarious and function as comedy.
There used to be such a thing as a sick joke, or laughing at misfortune, because comedy and laughter are a way of coping. And there is a kind of cruelty to it, but you can separate finding something horrible funny, and what you really think of it.
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.
Creativity, for a lot of young people, is a coping mechanism. It's the only place they feel comfortable. It's the only time they feel like they're being heard or can make a difference, is if they can go into a room and do a drawing or go to a garage and play a song or retreat to this world.
I have an unusual hobby: I collect pictures of people I don't know. It started when I was a kid growing up in South Florida, the land of junk stores, garage sales, and flea markets, as a kind of coping mechanism.
A lot of female comedians will go up there in a sweatshirt and Converses, trying to dress themselves down, because it is sort of a boy's club. I'll go up in my heels. I like that people don't think I'll be funny. I'll take that on. I don't do standup comedy - I do standup and I do comedy, but I don't go up there and do jokes.
Children and teens need to explore the dark side as a healthy part of growing. If a child is protected from everything dreadful, he will have no coping mechanisms in place when finally confronted with disaster.
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