Top 1200 Funny Character Quotes & Sayings - Page 8

Scenes change all the time. Scenes will change while you're shooting them, and you just have to roll with it 'cause that's what makes it funny. It's not being stuck in your character and how you're gonna do something, but to react to other people and to really have a real-life conversation.

What's funny in Italy may not be funny in Spain.

I like to create a character where you believe, deep down, that they don't really care if they live or die. That's very liberating for the character because, if the character is prepared to die, then they can do anything. It's impossible to stop them.

Since I am first of all a character writer, that character's emotions are as vivid to me as my own. I always begin with an emotion after I have established a character in my mind. I feel what they feel. I guess that is why it comes across so strongly.

I never thought I was funny. I don't THINK funny.

I don't think I was funny until college. I lived with some Harvard MD/PhD students - they were so smart, and what I contributed to the house was, I was the funny one.

People always think I'm this zany character. But I think I just see the funny side of life, I don't see the negative side, and I think that's a very good energy to be around.

We shouldn't confuse singers and performers with actors. Actors will say, "My character this, and my character that." Like beating a dead horse. Who cares about the character? Just get up and act. You don't have to explain it to me.

Character - We describe the character of a person in reference to moral judgments about the worthiness of a person. Thus, to have a strong, great or honorable character is to be a person of merit, worthy of admiration and honor.

When I create a story, I can make it however funny, sad, or happy I want it to be. And when I read, I feel like I'm in the story, and I get to experience it. It feels like I'm watching someone else do something, but I'm doing the thing that the character is doing as well.

'SNL' ain't been relevant since Jim Belushi. It's on every week; it's not funny. They need to find some black women to put on there to make it funny.

I don't really approach stories to make them different from other stuff I've seen, I just try to get into the character, into his or her head. Try to make it as funny, as scary or as wild as I can so that I really like it.

When you look at the comedies that are out there, 99 per cent of the time, men are the heroes. It's often thought that a woman can't be funny, that women are supposed to be sexy, not funny.

Stage is so important because it teaches me how to convey character with words - how to convey how a character reacts by the way they appear on stage. I can usually tell a playwright from someone who has never written for the stage. Did the character work? Did the dialogue reveal who the character is?

I've been lucky that even when I was younger, just because of my look or whatever, I was afforded the opportunity or called on to try. 'Can you do this Hispanic character?' 'Can you do this Italian character?' 'Can you do this Jewish-American character?' I just had to develop a facility for their accents.

It's very difficult once you've been on telly because people know what you do. They give you a little bit of grace but then they're harsher if you're not funny, so you have to be funny.

No, no, I was only funny on stage, really. I, I, think I was funny as a person toward my classmates when I was very young. You know, when I was a child, up to about the age of 12.

I think Carmen Christopher is going to be massively huge. He's just too funny. He's got funny in his bones, and he wants to conquer every room.

I guess my performance at school was doing school musicals, so I was a knight as well at the back of the stage in Camelot. It was all those kind of things. It wasn't the stuff that I wanted to do. The real funny character stuff came out when I was in control of it myself and writing it myself.

I don't steer towards anything. I steer towards character and truth. If it's funny then so be it. If it's dramatic, so be it. I just steer towards characters.

I've always just loved drawing and loved cartoons. Growing up, I loved Disney films, I loved The Simpsons, and I was a big fan of the comic strip Calvin & Hobbes and the way that they would have weird fantasy and then down-to-earth funny character comedy.

One of the things that is always difficult about a collaboration is that you don't necessarily find the same thing funny. And so the challenge becomes, how do you tell the other person that you don't think something's funny? The best collaborations tend to be when you are willing to be told that. But there's also ego involved, and so there's a lot of frustration in knowing that you're writing something, and the other person, on some level, needs to think that it's funny.

The whole character of Super Dave is a takeoff on people who pontificate. So one thing I never want to do is pontificate why this works, why this is funny. I have no idea what the appeal is. All we are trying to do is make people have a good time and laugh.

I was once in Delhi and one guy looked at me and shouted, 'kutiya, kutiya, kutiya' - it is a dialogue from my film 'Kasoor.' The guy couldn't recall anything else apart from this. It was funny but interesting - it shows the kind of impact my character has made on the audience.

Funny is the world I live in. You're funny, I'm interested. You're not funny, I'm not interested.

I'm just the least funny person in a room full of funny people, which is basically every single day of work for me.

You have to go as hard as you possibly can, or it's going to be weak. Whenever I find myself not committing fully to a character, it's not as funny. It doesn't have that clear point of view, and you find yourself wandering all over the place, whereas committed characters make strong choices that are clear to the audience.

I really enjoy being in the rock world. They're funny, 90 percent of them are funny. And they're guys that you would just hang out with and it's awesome.

Yeah, the main goal when I'm writing [movie scripts] is to entertain myself. It's supposed to be funny, but then a funny idea can be turned into something else.

This is a corny actor thing to say, but the first step is that you can't judge the character that you're playing. If it's built in three-dimensional fashion, you'll just play a character who's going out and seeking the best version of their life that they can find. That gives the character an accessibility that everyone can identify with.

I've heard that my father was a really funny man in company, but I never got to see that side of him. I was just 17 when he died, and he didn't know that I was funny.

Carol Leifer is funny, really funny.

There are many comics around who don't really have a feel for comedy. They can say outrageous things, have clever thoughts, and deliver some funny angles. But they are not genuinely funny.

I'm funny because I'm funny. And there's more to offer.

When something is truly funny, it's funny all the time.

I used to bury myself in character parts and put on a lot of makeup and use a lot of props. At first I thought it was clever to put on false noses and to do funny voices, but then I suddenly thought, no, that's wrong, you don't do it from the outside, you work from within.

I do feel privileged to play Elektra, because definitely she is a strong female character. She's a strong character. It would be nice if eventually we'd just say she's a strong character, not a strong female character.

No, no, I was only funny on stage, really. I think I was funny as a person toward my classmates when I was very young. You know, when I was a child, up to about the age of 12.

As a writer, you have to put yourself in service to the character, get behind their eyes by delineating the world where the character develops. You have to listen to the character and see him inside his certain world to know what conclusions he would draw.

They say Yogi Berra is funny. Well, he has a lovely wife and family, a beautiful home, money in the bank, and he plays golf with millionaires. What's funny about that?

I'd say Jon Stewart has remained funny the entire time. Jon always makes it funny first. And he's just, he's talking about serious things, but in a funny way. Other comedians will talk about serious things in a serious way, and then you don't know what's going on.

I love Charlie, Billy Burke's character. Writing for him is so spectacular, he's so funny and wry and every scene he's in he just takes. There's a scene in 'Eclipse' where Bella tells him she's a virgin, and it's the funniest, most awkward scene I've ever seen on film.

I was raised by extremely strict - but also extremely loving - Chinese immigrant parents, and I had the most wonderful childhood! I remember laughing constantly with my parents - my dad is a real character and very funny. I certainly did wish they allowed to me do more things!

No one wants to read a story where I saw a cute puppy on the street and I petted it. I mean, that's not funny. I only write about the funny stuff.

The only thing that I don't like is my kids watching comedy that isn't actually funny. There's a lot of supposed tween comedy on TV that isn't particularly funny, but it's got a lot of laugh track. And I go, 'Please don't watch that. Please just watch something that's actually funny.'

This character matters so much to so many people. I want to get that right. I want to do it justice. I want people to believe in the character and have faith in the character and kids to grow up wanting to be Superman. Or, God forbid, there's people who are going through hardship and wishing that this character would turn up and save them.

Funny is funny, whether you have three cameras or one.

I feel like my comedy voice is to take the news and everything that's happening and put a funny spin on it or to pick out the things I find funny about it.

When you work on a pre-existing character, when you end up getting invited to be part of a legacy character like Superman, I don't feel like it would be true to the character if all I did was go in looking to express my own voice.

I guess the more serious you play something, if the context is funny, then it will be funny and it doesn't really require you to be necessarily, explicitly humorous, or silly.

A character like Baahubali required a preparation that I had to undergo mentally and physically - from undertaking a strict routine and a lifestyle, which helped me become the character physically, to knowing the character's depth and a lot more.

I remember trying to be funny, and both of my parents were terribly funny. My father was also very dignified, but my mother was an absolute ding-a-ling, a ripper.

You have to have a character; you have to build your character. If you understand the pro wrestling scheme of things, then you understand what the promoting is. These guys are friendly backstage, but as soon as the cameras turn on, it's a whole different story: you become that character.

That's funny, you're funny. I like you, I'm quite taken by you.

The only thing that I know how to do as an actor, as a trained actor, is you can't villainize the character you're playing. Whether it's a fictional character or a real character. Because then you operate from that sort of negative point of view, and you can't humanize him.

To me, the best comedians are the ones that take everyday, normal, boring stuff that no one thinks is funny, and they make it funny. That's the same style I go for.

Now a 'funnyman' can get a laugh before opening his mouth - looking funny. Lou Costello was one of your great funnymen. Harry Langdon, Larry Semon; they were all funnymen - they looked funny. W.C. Fields was never a comedian. Slim Summerville was a comedian, yet looked funny. Now if you have both attributes, you are in good shape.

We build character in order for us to withstand the rigors of combat and resist the temptations to compromise our principles in peacetime. We must build character in peacetime because there is no time in war. Character is the most important quality you can find in any person, but especially in a soldier. It is the foundation that will get anybody through anything he may encounter. Reputation is what people think you are; character is what you are- that is the staying power.

Everybody funny, now you funny too.

Joker' is, of course, a character of my generation grew up with, and it's a character you know really well and have strong opinions about. He's been a larger-than-life character in fiction. He's one of these rare characters that have had such strong performances.