Top 1200 Comedy Club Quotes & Sayings - Page 16

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.

I always take care to have interesting chord progressions, because you can have the best sound design in the club, and you'll kill it in the club, but in five years, kids will have better sound design. But if your music is good, you'll always be able to listen to it, even in 20 or 50 years.

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.

The most important thing is to try to be focused on yourself, try to make yourself fit, and make sure your mind is ready, whatever will happen in your club or in your future club. That's part of our job.

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.

I think it's true of every great comedy that it's rooted in some dramatic, incredibly personal truth. And it's true of all great drama that there has to be comedy.

The first time I saw Peter Green play was at the Club Rado, which was a very rough club in Belfast, and at that time he'd just replaced Eric in the Bluesbreakers. I'd gone up there to sort of hang out and see if I could meet this guy Peter Green, because I'd read about him and everything.

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

My preference is live performance. Because you get the feedback. There's an energy. It's live theater. That's why I think actors like that. You know, musicians need it, comedians definitely need it. It doesn't matter what size and what club, whether it's 30 people in the club or 2,000 in a hall or a theater. It's live, it's symbiotic, you need it.

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.

When I was playing in a junior tournament one time, I missed a short putt and threw my putter into the trees. I went on to win the tournament and later, instead of my dad congratulating me, he told me that if I ever threw a club again, I'd never play in another golf tournament. I haven't thrown a club since.

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

I'm very observational in my comedy and what I create with the characters that I'm blessed to play. I don't believe comedy needs to be offensive, and I don't believe it needs to be a mockery of anything.

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 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.

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.

Money has to be put in the way a club feels it should. If you put money in a new ballpark, that helps to generate revenue so you can spend more money. It should be spent to make the club's operations the best. That will help in the end, and it will mean enhanced payroll.

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.

I want to play in the Premier League, the Champions League, and I want to continue playing for England. If I'm going to do that, I have to play for my club and put in good performances for my club because there are other English midfielders who are doing that in the Premier League.

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 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.'

Every club if I am not playing, I leave because I want to play football. All I wanted to do since I was a kid is play football and if I wasn't at a club I'd be playing with my mates on a Sunday. I still come home and play five-a-side with my mates.

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 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.

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.

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.

That's what I think works the best, and what I think makes the best comedy - something that's completely committed and more approached as an acting exercise, as opposed to being worried about whether to be funny or not. The comedy comes from the context.

He regarded life as a rather odd club of which he had accidentally become a member and from which one could be expelled without reasons having to be supplied. He had already decided to leave the club if the meetings should become all too boring. But how boring is boring?

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.

I loved George Carlin... I used to sit in front of the TV and watch the HBO comedy specials. I loved those comedy specials.

I often felt myself the lone voice in discussions suggesting that basic democratic principles be followed. I recommended that not only should workers' voices be heard, but they should actually have a seat at the table. You have the old boys' club discussing how the old boys' club should be reformed.

Wherever Mantle went in the great metropolis - Danny's Hideaway, the Latin Quarter, the '21' Club, the Stork Club, El Morocco, Toots Shor's - his preferred drink was waiting when he walked through the door. Reporters waited at his locker for monosyllabic bons mots. Boys clustered by the players' gate, hoping to touch him.

S Club 7, in some ways, was a continuation of some of the things I'd have liked to have done with the Spice Girls. It was also a shift in tone. S Club was this equality of boys and girls, very positive, very uplifting, didn't have the edge of the Spice Girls. I didn't want to repeat it.

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.

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

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.

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

I want to help Leeds United return to the level our history and fans deserve. When I came to the club, I gave myself three years to deliver that and my vision remains the same: return the club to its rightful place in the Premier League and make our fans, players and staff proud of their football team.

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.

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.

There's nothing more dramatic than the comedy I've done. Because the comedy I've done is to get to the audience, get them to feel it, or they won't laugh.

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 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.

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.'

I always knew about comedy; I always loved comedy.