Top 1200 Funny Character Quotes & Sayings - Page 4

It's not most important to communicate myself on stage as it is to be as funny or interesting as I possibly can on stage. I feel more like I'm doing a play whose main character just happens to share my name.

Sometimes it's funny for me to just pretend I'm a movie character, and think what would you do if this was a movie? Or, what would you do if you were one of your icons?

When you are writing a character, what the character says is obviously crucial. But what the character doesn't say is absolutely as important as his words.

Comedians, we're just people who whine. But we happen to be funny when we whine. Like, if Jerry Seinfeld wasn't funny, you'd want to punch him in the face; he'd just seem like a whiner to you. But the fact is that he's funny.

It's really an organic sort of process. You start off with the character on the page. You fall in love with that character and you have to represent that character well and I think it's just an evolution there. Using the accent and speaking the lines with the accent in fact opens the door to who the character really is.

But it was this tough little character part that I was playing, a very funny little guy that I invented over a weekend, because I realized I was not contributing to the humor of this thing. And I had to do something.

I think that Obama is very cool. And I think he's clever, and I think he can be witty. But I don't think he's funny in either the way that Reagan was funny - or John McCain and Dick Cheney are both funny in that ruthless, kind of mean way.

I think, as a comedian, the funniest you can be is with people you know, and [whom] you've known for years, in a pub. That's as funny as you get, and so the aim [while stand-up] is to get that funny on stage with 5,000 strangers, to get that funny in a room where people shouldn't be listening but they are.

With Dustin Hoffman, I just enjoyed the fact he was this flamboyent and very ironic person that still followed my desire to make Baldini in the Perfume: The Story Of A Murderer not simply a joke, or the funny guy, but also a personality and a character.

The funny thing about being Catholic, and I was raised Catholic, is that you identify with the Church, just as part of your character. Nevermind what you believe, it's just who you are.

Comedy is one genre that I really want to come my way because I was loved for my funny character in 'Khiladi 786.' So, if approached with a good script and good songs, I will certainly take it up.

Someone trying to be funny probably isn't as funny as someone who doesn't want to be funny but is and can't help it. Someone being serious or angry might be funny. If you get angry, the first thing I want to do is laugh because I don't know why you're getting that angry. Pathos makes me laugh, funerals make me laugh.

I never like to judge the character. I just have to leave my feelings of pity, or fear, about a character - whatever I feel towards the character, I try to leave to one side. It's good to have them, but it doesn't help me. I can't act those things. I just to play the character as truthfully as I can.

The house, while sound in wind and limb, was described as being of 'no character.' We didn't think then that it had anything but character, rather sinister perhaps, but definitely character.

Mr. McCabe thinks that I am not serious but only funny, because Mr. McCabe thinks that funny is the opposite of serious. Funny is the opposite of not funny and nothing else.

The stuff we're seeing in 'Deadpool' and 'Harley Quinn' now, Plastic Man was doing in the 1940s. It's a character that was ahead of its time back then and the stories are still funny and still relevant.

Character, character, character. First, second and third ... we were pretty rusty initially. When you have a break for a few weeks you get a bit of rust.

When you're the guy inside of a character and you've lived with it for almost two years, you're always a bit defensive about the character, and you want to root for the character you're playing.

I think funny is just the foundation. I don't really think, to some extent, funny is the absolute most important thing. It should also communicate some idea through the medium of cartooning. Just to be funny is... You know what, the things that you laugh hardest at aren't cartoons.

At the time, I used to say, "We should market this like Everybody Loves Raymond. It's just a guy dealing with his family." Instead, it was irresistible to show all these funny people. So, I actually think this could be more inviting to a new audience because they can just watch one character, find out what's going on in his life, and then meet another character and find out what's going on in her life, and then see how it intersects the other one.

It's funny because I never studied, I never took a class. So everything I do is very innate and organic; I don't really have words for it. It is a communion with spirit. I don't get in my own way and allow the character to do what it's going to do.

I had no idea what I was signing up for. I auditioned for some random character. I knew the sides were fake, but what they were trying to capture was an emotional toughness and a woundedness. I knew I liked the character. I didn't know who the character was, but I liked the spirit of the character.

The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.

When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.

Improv is more than just spitting out a bunch of funny stuff that's unrelated to the material. You have to stay in character, you have to react and respond as the character you're trying to play. You have to service the story, and I think improv training has helped with my listening, responding, and my audition technique. It's sounds so silly, but it's true. Because not only do you improvise during the audition, but once you get the part, they'll say, "Throw away everything. Just improv this scene. Do whatever you want." Someone could panic if they're not used to doing something like that.

Bunty is a piglet that comes up with a lot of funny antics. Dancing is among its strengths and I'm glad people are liking the music video where it grooves to popular Telugu songs. I have made the character very likeable.

I think on 'Third Watch' that I was the comic relief on a lot of that. I mean, I definitely had dark moments, but people tended to think he was funny even if the character himself wasn't having a fun time.

The hardest thing for me to do, and the best thing I've done and learned as an actor is to sacrifice being funny in certain circumstances in order to do something that makes sense for the story or the character, or emotionally.

I would like to play some character that's somewhat dramatic. I don't see myself ever becoming that serious, or it sounds weird, but I don't see myself doing something that's really dramatic but somewhat dramatic. I would like to do something that's more real and doesn't have to be laugh out loud funny. I always like whatever I'm involved in... whether it be funny or whether it be somewhat like... I'm not gonna try to get people to really cry.

I like ones that pertain to the music they make. Talking Heads does that somehow. More often than not band names are just a quirky joke that doesn't really stay funny for very long. It's like Homer Simpson's barbershop quartet, the Be Sharps. At first you're like, 'That's funny!' Then you're like, 'It's not that funny.'

They did that little thing on South Park, and they mentioned my name and had a character of me judging a Halloween contest. It was really funny. That made me the coolest aunt on earth.

I think, for every actor, the most challenging part of playing a character, specially a real-life character, is to convince yourself that you are the character.

Believe it or not, every Marvel character is someone's favorite character. There's a fan out there who absolutely believes that their character should have their own television show.

I think I'm the funniest guy in a room full of unfunny people. Unfortunately, my career is increasingly leading me into rooms where everybody is funny. I'm the least funny person in a room full of funny people.

When you play a character, you bring yourself into the character. You get a chance to shine and show your translation for the character and her state of mind.

My stand-up is more like how I am in real life. I don't really do a character thing in stand-up. It's just a bunch of sentences that are supposed to be funny.

When I'm writing a story, which takes me a year or more, I can feel my character living with me - they're responding to whatever funny, familial, or social situation I'm in, and I think about their responses constantly.

The original outline for 'Mississippi Grind' was actually an attempt to go funny. But when we showed it to people we realized that maybe it wasn't as funny to other people as it was to us - we have a pretty specific sense of what's funny - and then we thought, O.K., we need to do this more like we would actually make one of our movies.

I mean every character you totally, you know, the full fiber of the personality is kept in the film, and all of those little moments, all those funny little tidbits are all in there.

'Entourage' was a show that existed around wish-fulfillment. People watched it because they wanted to believe they could go on private jets and be hanging out in Hollywood, but as a show, comedically, it was not funny. Not a funny show. It's funny, ironically, because of how terrible it is.

I think a lot of people have seen me on The Simple Life and think I'm a "spoilt airhead," but I was playing a character. The producers said they wanted Nicole and I just to be crazy and funny and say outlandish things.

You never saw Peter Sellers the actor trying to make you laugh. All he was doing was the character. What I'm saying is that I don't think you should know you're in a movie. I don't like it when actors are winking at the audience and saying, 'Right, isn't this funny? Are you with me?'

A funny thing about film is that it's the only medium where people say there are really rules that you have to stick to. Nobody says to the writer - in a film you've got to have three acts - there's a character arc you have to do - there's no reason that's true.

To me, little Mike Wazowski is one of the best characters I ever got to play because he was funny. He was outrageous. He got angry. He was romantic. He was a full, well-rounded character.

By making the gay character funny and sweet but above all normal, you make a far better, longer lasting statement than you would if you had an entirely gay comedy.

What people really want is not to make something funny, but to make something amusing - which, in many ways, is the opposite of funny. To amuse someone is to eliminate discomfort and awkwardness, kind of like a massage for the brain, while to be funny is to point out awkwardness and discomfort. Everyone thinks they want funny, but they really want amusement.

Comedy isn't really something where you get discovered. You can't network your way to being funny or talented. It's not hard to get seen if you're funny. If you're funny, talented, and work hard, you will go somewhere.

Taking on an iconic character is difficult, sure, people associate different actors with a character that you're playing, but there's something in rehearsing and developing a new character.

The female love interest is boring to me. A female that's interesting, smart, funny - that's what I'm drawn to. I wouldn't say that every character has to be smart, but she has to have one trait I can relate to.

My character should not be ordinary, cliched, and if I feel that it's difficult to do this character, I take up that challenge to get into his character.

When I wrote for Eazy, I wrote for the character. Everybody knew Eazy loved girls, so I would make him funny, even though it was somewhat misogynistic.

I've noticed, as a comedy fan, that I really like Paul Thomas Anderson or Quentin Tarantino because when they're funny, they're actually funny. It's not like when other dramatic writers have comedy, and I'm just like, 'Well, that's not funny. Why are you even trying to make a joke here?'

When I was in improv workshops or doing stand-up or writing comedy with others, or just doing comedy, I just laughed. Funny was funny; I loved to laugh. I always liked people I found generally funny.

'My character wouldn't do that.' That was always my favorite thing people say: 'My character wouldn't do that.' I said, 'Well, it says right here in this script your character does that.'

I am playing the character of Sanjana in 'Race 3' and it is very a dark character in the initial phase of the film but towards the end, it gets transformed into a positive character.

There are the class clowns that are disruptive and the kids laugh and you earn the teacher's disdain, I was the kind of class clown that also cracked the teacher up. I was funny in a way that was not dissing the teacher; I was funny just to be funny.

I'm quite sarcastic, and I'm funny, but not kind of funny. It's a weird funny, and some people don't get me, and some people do.

I think it always helps when you build a character, and then, you actually step into that character's wardrobe, something else happens. Another angle of the character comes to life.

The biographical novel sets out to document this truth, for character is plot, character development is action, and character fulfillment is resolution.

Comedy should never be over-analysed. It's either funny or it isn't. There's a subtle difference between those who say funny things and those who say things funny.