Top 553 Etch A Sketch Quotes & Sayings - Page 8

In the case of 'Sweet Tooth,' and in the case of a lot of stuff I do, it all starts with the image. It may be something I sketch in my sketchbooks - something that reoccurs in the sketchbooks. Eventually, a character or story line starts to grow out of that.

Every time I see Trump on TV these days, I'm waiting for him to burst out, 'Live from New York, it's Saturday Night!' That would make sense to me - that this has all been one long 'Saturday Night Live' sketch.

I never pursued anything in terms of performing comedy until I was in my twenties. I was basically forced into it by a couple of my friends who were starting a sketch troupe and thought I'd be good at it. I was kind of terrified by it, but I gave it a try. I am so grateful to those guys for believing in me and viciously twisting my arm!

In, like, seventh or eighth grade every day after school, my friend Andrew and I would watch 'Wayne's World.' And I think it's a great example of a sketch effectively turned into a movie and a story that really works with a good journey. Not easily accomplished, but such a good journey.

She was a sweet girl but not really pretty, a rough sketch of a woman with a little of everything in her, one of those silhouettes which artists draw in three strokes on the tablecloth in a café after dinner, between a glass of brandy and a cigarette. Nature sometimes turns out creatures like that.

You're under the gun at all times because it's live TV. A lot of time, between dress and air, you're having to come with an entire ending to your sketch that gets an even better, bigger laugh - which is terrifying... People are filing into the audience, and you're writing a new joke for the end of it.

One thing you learn from comedy writing, or sketch writing, is just to be vicious about cutting. Do not get sentimental about cutting. That bit doesn't work, get it out.

Your words have come true with a vengeance that I shd [should] be forestalled ... I never saw a more striking coincidence. If Wallace had my M.S. sketch written out in 1842 he could not have made a better short abstract! Even his terms now stand as Heads of my Chapters.

I am like a security camera ever on the watch. The furtive quality of vision feels to me like an incredibly valuable weapon. Everything I see gets transformed into a private sketch or painting in my mind, stored away for future reference, future evidence, future ammunition.

And this, incidentally, is my thumbnail sketch of American marriage: A woman sees a man; she likes him. Now she jumps on this thing and rides it to some kind of standstill. Then she changes it and trains it, and to the exact degree that she's able to do this, she disrespects him.

My first book was called, 'Mountain, Get Out of My Way,' where I did an autobiographical sketch, if you will, looking back at myself and looking back at things in my life, and juxtaposing them against things that are happening in other people's lives and trying to be motivational.

When I was in sixth grade there was a talent show, and I wrote my first sketch, 'The Dentist.' I played the dentist, and I had my friend play a patient. It was sort of what can go wrong at the dentist, and I just remember I had lots of fake blood and everything.

One fan wrote asking for a very specific autographed photo. He wanted me to pose in tight jeans and boots and even enclosed a sketch of how I should dress! A lot of them just say they wish they had a girlfriend like me. They're very endearing letters.

Comedy is really my passion. I started out way before television doing sketch comedy with other women. Very much along the lines of, at the time it was 'Sensible Footwear', but now it's 'Smack The Pony', 'French And Saunders', that kind of thing. That's how I started out.

Because I never plan anything out ahead of time, I'm always in the process of learning about my characters. Without a biographical sketch to guide me, I discover things about my heroines as the stories unfold. Only in 'Body Double' did I discover that Maura's mother was a serial killer.

We end the show with something that's never been on TV because it was too big for a sketch but we couldn't stretch it out to make a whole episode because it would have been too long, but we always thought it was really good.

I always honestly dreamed of coming to Second City in Chicago, although I've never even been there to see a show. But I did a ton of sketch comedy at the Second City in LA, which (at the time, in a different location) wasn't really a theater, it was just a space where you took some classes.

Not only is there more content, but the producers are also focusing on characters rather than their ethnicities. I mean, when you go in for an audition, you get a character sketch, like 'a 35-year-old American male.' The ethnicity of that character is developed after casting the actor, and I think that's the most basic change that has happened.

For me, I was literally trying to stay afloat. I never actually thought I would get my own sketch show. So the idea that one day I would have my own show is pretty wild. But once I got it, I thought, 'Yeah, this is exactly what I always wanted to do.

I believe that one should not think too much about nature when painting, at least not during the painting's conception. The colour sketch should be made exactly as one has perceived things in nature. But personal feeling is the main thing.

What I love about sketch is that the writing of it is idea-based. It's not story-based. It's like, 'This is a behavior, and we're going to write, in a small sample, the funniest way to heighten this behavior.' Sitcoms or movies are about story.

I worked as an assistant editor, actually, for a few years. That was right when I was just starting to get out at night and do a lot of stand-up, improv, and sketch work in New York. It really is invaluable. I think it pounded into me an awareness of what an editor wants and needs, in terms of clarity of a moment, where and when to start and stop a line.

Starry Starry night Paint your palette blue and gray Look out on a summer's day With eyes that know the darkness in my soul Shadows on the hills Sketch the trees and the daffodils Catch the breeze and the winter chills In colors on the snowy linen land.

Don't be too precious or attached to anything you write. Let things be malleable. For sketch writers, remember they're called sketches for a reason. They're not called oil paintings. Some of them are going to stink. You have to let them stink.

My mother was a seamstress, so I always grew up with her making clothes. I knew how to construct outfits. I knew how to sketch. I knew how to customise. But I could never imagine it as a career.

I wanted to be an English teacher. I wanted to do it for the corduroy jackets with patches on the side. When I got to college, as I was walking across campus one day, I ripped off a little flyer for this sketch-comedy group. It ended up being one of the greatest things I've ever done.

I didn't want to write sketch comedy after 'Mr. Show.' I felt like, after 'Mr. Show', why would you want to go work at any of the other places that existed then?

A little of the sketch character Pootie Tang went a long way on HBO's now late, probably soon to be lamented 'Chris Rock Show.' So it's surprising how much fun the character's film debut, 'Pootie Tang,' is.

Very few designers today design - it's very important to be able to do your own sketch on paper and then explain [your vision] to the fabric cutters. Instead, lots of designers drape - it's the new way.

There's a beautifully simple sketch in the first episode of 'Smack the Pony:' two women approach each other walking their dogs and as they pass the women bark at each other, the dogs remaining perfectly calm. It kills me every time.

There's no job like 'SNL.' There's no other job you go to where you're like, 'Oh, this is like that live, late-night sketch variety-musical show that shoots in, whatever it is, 10,000 feet of sound stage.' There's nothing like it.

For my first show at 'SNL', I wrote a Bill Clinton sketch, and during our read-through, it wasn't getting any laughs. This weight of embarrassment came over me, and I felt like I was sweating from my spine out. But I realized, 'Okay, that happened, and I did not die.' You've got to experience failure to understand that you can survive it.

Where’s your sketch pad?” I asked. … “I gave that up,” Kay said. “I wasn’t very good, so I changed my major.” “To what?” “To pre-med, then psychology, then English lit, then history.” “I like a woman who knows what she wants.” Kay smiled. “So do I, but I don’t know any.

After 'David Pumpkins,' a lot of people were sending me pictures dressed up like David Pumpkins and the skeletons, and videos of kids reenacting the sketch, doing the skeleton choreography. It was really cool to see yourself out there in the pop culture of the world.

I think what is nice about 'Elf,' and why it doesn't play as one long sketch, is that the character actually grows up during the course of the film. It's not just a character that you can keep checking in on and keep doing sketches about. It's a story. I'm pretty proud of how we told it.

We agree that there is a problem in the sketch and improv community where, in general, there should be more interest from a more diverse sampling of our society. That is precisely why we do have diversity scholarships and why we've put together a diversity program to try to figure this problem out.

The reward of the young scientist is the emotional th rill of being the first person in the history of the world to see something or to understand something. Nothing can compare with that experience The reward of the old scientist is the sense of having seen a vague sketch grow into a masterly landscape.

To go from working with a group of people in a sketch-comedy show on a small network, where it was all about just creating funny stuff, to being on a network show, and the pressures of that, and getting to know the new people who were involved in it. There was a learning curve for me. But it was an education.

I grew up in the age of variety shows. 'Flip Wilson,' 'Carol Burnett,' 'Donny and Marie,' and 'Sonny and Cher' - I never missed an episode. These shows had it all: singing, dancing, and sketch comedy. One minute, they're ice-skating with pyrotechnics, the next they're doing a scene on a gigantic set. I just couldn't get enough.

I have an inability to relax. I try to make every day a work day. I get pleasure from work... I try to think of sketch ideas, stand-up pieces. I am incapable of leisure and leisure time.

It is enough to have been created, to have embodied for a moment the infinite and tumultuously creative spirit. It is infinitely more than enough to have been used, to have been the rough sketch for some perfected creation. Looking into the future, I saw without sorrow, rather with quiet interest, my own decline and fall.

I was always a big fan of Mel Brooks and Carl Reiner's '2000-Year-Old Man' sketch. I think it's one of the biggest influences on the podcast, definitely. You'd never say Carl Reiner was the funniest dude on there, because he's just teeing it up, but he knows what questions to ask to lead to great improv.

For me, I was literally trying to stay afloat. I never actually thought I would get my own sketch show. So the idea that one day I would have my own show is pretty wild. But once I got it, I thought, 'Yeah, this is exactly what I always wanted to do.'

Most sketch aficionados have an enormous amount of respect for 'Mr. Show.' I didn't have HBO back then, so I was always trying to find episodes. Bob Odenkirk and David Cross became celebrities, and Jay Johnston - who's lesser known, but brilliant - deserves a lot of credit, too.

At this point, I feel fairly comfortable in terms of performance. I think having a sketch background actually helps a lot. Because my background is acting, and stand-up, in a lot of ways, is acting.

Because I was so quiet, my father let me spend hours and hours next to him while he would sketch. Everyone else was always asking things from him. I wasn't asking anything. I was just happy to be there.

We wanted it to have a simplicity to it, so that if you're a 12-year-old and you're watching the show and you get inspired, you could easily sketch this thing out with your markers or crayons or whatever, then you'd show your friends and they'd instantly go, 'Oh yeah, that's the Demogorgon, that's the monster from 'Stranger Things.'

There wasn't a big tradition of comedy at Dartmouth. More than that, there wasn't really anything artsy going on in Hanover, or even in New Hampshire. The cool thing about the school is that there's nothing for people to watch, so if you were to do a play or a sketch or an improv troupe, it was always packed. There's nowhere else for anyone to go. But there was no comedy.

Topical-sketch writing were incredibly rational and well reasoned: don't do a joke if the subject doesn't deserve it. An ad hominem attack on someone might get you a cheap laugh, but it doesn't earn you any long-term trust. The biggest rule was: you attack whoever's in power. Don't bring your personal bias to the table.

I'm a very bad impersonator so I can't even remember if I've ever done a sports person. I mean, I think I was Bruce Jenner once but I don't think I said anything in the sketch. I was just sitting there in a like a bronze tracksuit. No dialogue. They don't trust me with dialogue.

To take on the jobs of tomorrow, students must become more than good test takers. They need to become makers who design, sketch, build, and prototype. And their classrooms will need more than a chalkboard and a set of textbooks.

My uncle worked in emergency wards dealing with people who came in with terrible injuries. He talked about the sketch shows they would put on to lighten the atmosphere. You often find this sense of grim humor in hospitals. The injuries people are suffering are ghastly. You have to laugh at something or you'd otherwise cry.

There's a thing about cocaine - when I was doing it secretly, it didn't make me very sociable. I forget how others were, but it made me very inner-directed. So being in a sketch and rehearsing and the "hail fellow well met" camaraderie and all that stuff, I couldn't fake that or force that. It was painful.

I wanted to come to Chicago. I also wanted to do "Saturday Night Live." And then I got to a place where I didn't want to do those things anymore.For the sketch comedy thing, I got cast on "MADtv," and that will kill any man's desire to do comedy.

The population increasing, some of it could be in countries we haven't thought of making art in. I've never entertained making comedy in China. Like what world is that? I don't know how they would perceive art or sketch comedy. It's not a matter of intellect; it's a matter of language.

I watched Master Class with Lorne Michaels on OWN. How can somebody produce a sketch show and talk for an hour and not say something even slightly amusing, or sarcastic, or ironic, or interesting, or informative? 'My mission as a producer is to encourage creativity.' Mission accomplished.

As far as I can recall, the initial shiver of inspiration [for Lolita] was somehow prompted by a newspaper story about an ape in the Jardin des Plantes, who, after months of coaxing by a scientist, produced the first drawing ever charcoaled by an animal: this sketch showed the bars of the poor creature's cage.

We mocked that concept ['movies are better than ever'] by doing a sketch that was about a theater trying to get one customer to come in...and that customer was Jerry Lewis. It generated so much controversy that Dean [Martin] and Jerry [Lewis] had to apologize in a full page ad in Variety.

Sometimes you go for weeks without writing successfully, and you don't feel like a writer anymore. When friends ask me how my week was or how I'm doing, I think back on it, and I've just been by myself. Like, I'm just a sketch.

When I saw Jimi Hendrix I knew immediately that this guy was the real thing ... and when he played it was like a rough sketch of what he was going to become ... this guy was our generation, and he wasn't in a suit .. he played a Howlin' Wolf song 'Killing Floor', and then we (The Cream) had to carry on the set. It was pretty hard to follow.