Top 1200 Best Comedy Quotes & Sayings - Page 12

I grew up in Iowa, and the improv comedy club Comedy-Sportz across the river in Illinois held auditions. They took me even though I was only 16 - you really had to be 18, but they never checked me for ID.

I can do comedy but it's a certain type. I'm not a physical comedy guy. I'm not Will Ferrell - there's just this crazy and get naked and run through the thing screaming. That's just not my style; my style is drama or - I'm not slapstick.

There are some professions that culturally and sociologically take a long time to change, and because of that, there's still sexism in comedy audiences. We shouldn't blame them: I do it too. A woman comes on, and I feel slightly anxious. I'm a woman in comedy, and I do that; I think everyone does.

More than an adult comedy, 'Great Grand Masti' is a naughty horror comedy, more on the lines of 'Masti.'

Comedy clubs sharpen a comic, they're like the gym for us, making us stronger, faster, funnier. Without them every comedy show would feel like a monologue.

It's fun to do a comedy and hook people in and then hoodwink them into watching a serious movie. I like to lead in with the comedy and then hit them over the head with a drama.

Comedy is best when it's a reaction to something. When you're talking about a topic, and when your friend says something funny naturally, that kind of points something out and puts it on its side, or whatever, then everybody laughs. Because it's unsuspected.

Here's my take on Andy Kaufman... For Kaufman, comedy was a skill that was open for examination. He didn't just do comedy, he deconstructed it like it was a transistor set. He pulled out all the wires and switched them around, often in front of our very eyes.

I wish people would understand that comedy is an art form, and that the same thing that makes a Picasso painting is the same thing that gives Bill Cosby the ability to do an hour of comedy on his kids.

Comedy can reach many more people than, say, a serious lecture on the topic. And comedy might just be the access point to reach people who want to be entertained and also learn something.

Eugene Mirman is the Andy Warhol of comedy. People look to him for what's next in comedy, and he emails these people back promptly. The Will to Whatevs put me in a great mood because I was laughing out loud. Alone. That's hard to do.

I actually imagined 'Thunderbolts' as a straight-up comedy book in a lot of ways, like a very dark comedy book, whereas 'Red Lanterns' is more of a cosmic saga that has some jokes every once in a while.

We have dealt with the Arab/Muslim problem in the American media in every single way but through comedy. Hollywood has always been lagging behind comedy... We can make fun of ourselves, too, and I'm inviting us to laugh with us - and all the misconceptions.

I never consciously got into comedy. It was sort of one of those things where I was a theater student, I was acting, I was doing comedy, I was doing dramatic stuff, so it's been something that I've always done and enjoyed doing and had an instinct to be relatively good at.

Comedy is a live art, and the only way to record a comedy rock album is to do it live. The audience and their laughter is just as much a part of the album sound as our music. No retakes, no room for error.

January 14, 2000, was my first time on stage, and I've been hooked ever since. I got discovered nationally in Seattle by the now-defunct HBO Comedy Festival, and that led to an appearance on 'Jimmy Kimmel Live' and a path to a professional comedy career.

In Canadian comedy, you'll almost never see guns. If you bring a gun into a scene, it's like, 'Whoa! Wow, how are we going to deal with that!' Guns in an American comedy are a given. Violence in America is used in a much more cavalier way.

Classic comedy is classic comedy, and it will go on for years.

I find myself on Yelp typing in 'the best 'blank' all the time: best cheese, best ice cream, best pizza.

I actually started in comedy, but then after 'Deadwood' I started concentrating on the dramas more. But then I just got tired for raping and killing and figured, 'It's time to do another comedy.'

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.

You take the best ingredients - the best cocoa beans - and you process them in the best traditional way, and you have the best chocolate.

My goal is to be the best TV presenter, the best entertainer, the best singer. I still want to be the best dancer. I want to be the best at everything I do.

It's hard to learn about comedy from comedians. Comedy is not something that you necessarily learn or can imitate. You're funny or you're not, and you hope what you're doing is funny.

I'd say a lot of black comics were forced to do the black comedy circuit. I'd go into black comedy clubs and see what they're going through, which is different because they're almost made to be in another world.

I'm much more a European Italian than I am an American Italian, and I've always felt that that style of acting comedy is in me. I put comedy as much as I can into all my movies, if I can help it.

In the 70s I started doing my Big Night Out on stage when I was at art school. A friend of mine owned a comedy club and sold it to me. I worked out quite quickly that if I did the comedy myself I'd make more money.

I worked mostly in television drama for my first few years. I just kept guesting on NYPD Blues and CSI-like stuff, so when I started getting work in comedy, a lot of people in the business would say, 'Oh - I didn't know you did comedy.'

Music and comedy are so linked. The rhythm of comedy is con­nected to the rhythm of music. They’re both about creating tension and knowing when to let it go. I’m always surprised when somebody funny is not musical.

Lets tell young people the best books are yet to written; the best painting, the best government the best of everything is yet to be done by them.

The scariest thing about screening a comedy ... if you screen a drama, you know, there's no real way to tell in real time if people are enjoying it or not. But in a comedy, it's like, if people aren't laughing, it's sort of scary.

I don't have that kind of Southern experience, of the fire-and-brimstone preacher type of thing. Certainly not in my comedy. I come more from the guilt-ridden, neurotic type of [ - ] I have more in common with the Jewish brand of comedy.

Hard comedy goes for the jocular. Hard comedy is basic.

If it's a low-brow bawdy comedy, it's got to stand the chance of succeeding as such. If it's an intellectual piece, a drama, and so forth. And of course, once you've determined the level of the piece, do it the best you know how. And then don't make concessions. To audiences, or to pursestrings, or whatever.

I moved out to L.A. to be a filmmaker or director. I didn't even think about doing comedy or even acting. I wanted to be like Paul Thomas Anderson or Wes Anderson, but I wasn't going to a lot of comedy.

I've always said people say on a dramatic show, 'I was crying. It was so emotional when he went and grabbed that little girl from a burning building and handed her over to her mother.' In comedy, the best thing you can say is, 'I think it's funny.'

The kinds of shows that seem to work now, the comedy shows, are those which require very little attention. They're superficial and I like articulate comedy. I don't know how to do the other, so I won't consider television until the audience's taste changes.

I didn't want to perform comedy. I always loved humor. Loved making people laugh. I was a big stand up fan, but it wasn't until I was managing a restaurant that had a comedy night and one of the producers asked me to go on stage that I wanted to do it.

I had always been - everybody kind of likes comedy. I was very interested in comedy, beyond just liking it. I had friends that took apart radios; I wanted to take apart jokes.

What they call 'alt-comedy' now is basically what comedy was like in the '80s. People tried different things, and everybody went to the clubs; there was no other place. Then somehow, the clubs became infiltrated by Dice Clay and Carrot Top types.

It's an unknown quantity. It's actually almost a cliché to say it, how hard comedy is. What's that famous quote? "Dying is easy, comedy's hard." I think the broader it gets, if you miss by a millimetre, you've missed completely. It's a very hard thing to do.

Paul was just the most real guy ever. The best big brother, the best son, and the best father. The best everything.

After college, I knew I wanted to work in comedy, so the first thing I did was go to where the comedy was. I moved from Charlottesville to Chicago, because that's where The Second City and Improv Olympics are. You have to go wherever you need to go to study what interests you.

The first Emmys I went to was in 1990 when the five nominees for best comedy were 'Designing Women,' 'Golden Girls,' 'Murphy Brown,' 'Cheers,' 'Wonder Years.' Three and a half were created by women.

Big comedy is good, I like things that are big, but good comedy has to be truthful I think and has to reflect some sort of reality.

I've made a lot of crazy comedy videos and said a lot of crazy things. If it's too offensive, I apologize and move on, but I do comedy.

I realised that all one really had to do was just observe. Observe and slightly exaggerate, and you had comedy. Instead of creating a mythical premise for a stupid joke, I found playing off truth got the best result.

I always knew about comedy; I always loved comedy.

When someone who is known for being comedic does something straight, it's always "a big breakthrough" or a "radical departure." Why is is no one ever says that if a straight actor does comedy? Are they presuming comedy is easier?

I actually started in comedy, but then after 'Deadwood' I started concentrating on the dramas more. But then I just got tired for raping and killing and figured, 'It's time to do another comedy.

When it comes to this business and becoming a comedy superstar, I've never really thought about things holding me back. I think about what to do to go the next place. Comedy now isn't the only thing for me.

To me, being brave is an element that is so important with stand-up comedy. It's not essential. There are many comics who were just funny, and that's fine, too. But that's never been what I was trying to do in comedy. I was always trying to do something that involved not pandering to the audience.

Katey Sagal, you are an incredible actress. You worked on ‘Married with Children,’ the show that changed comedy, ‘Sons of Anarchy,’ the show that took comedy to a whole new level and ‘8 Simple Rules,’ the show that killed John Ritter.

When you get big special effects pictures, sci-fi and things, there's little or no comedy. Or it's a domestic comedy and there's not one special effect. But very rarely do these things fuse and come out right.

There is certainly a higher percentage of wit in British comedy than in American comedy. What always tickles me is the way in which people try to use their intellect to get themselves out of tricky situations but never quite manage to do so - much to their enormous embarrassment.

The king of comedy is dead. Richard Pryor was the king of comedy. The rest of them are the king of copycats.

That's one of the things about comedy that annoys me the most from a comedian perspective. Comedy has gotten so segregated. Now it's like if you don't agree with somebody, you probably aren't going to like their jokes. I think comedians are starting to write for their audience and not towards the country.

To create a comedy major, I ended up starting a comedy night in the basement of my dorm, and I promoted and produced my final project, which meant I faxed press releases from an old Apple IIC, or whatever it was, to newspapers, not knowing if that would work or if that's how you do things.

The scariest thing about screening a comedy... if you screen a drama, you know, there's no real way to tell in real time if people are enjoying it or not. But in a comedy, it's like, if people aren't laughing, it's sort of scary.

I've always tended to write comedy, but I'd hate to just write some kind of sitcom or a lighthearted series of jokes and slapstick. I wanted to talk about some deeper things within the comedy.