Top 1200 Funny Story Quotes & Sayings - Page 17

I'm a very jovial guy. I like to laugh, and when things strike me as funny, I don't hide the fact that it's humorous to me. It almost doesn't matter where I'm at: I will burst out and laugh if it's funny to me.

Robert McKee says humans naturally seek comfort and stability. Without an inciting incident that disrupts their comfort, they won’t enter into a story. They have to get fired from their job or be forced to sign up for a marathon. A ring has to be purchased. A home has to be sold. The character has to jump into the story, into the discomfort and the fear, otherwise the story will never happen.

In my film "Benny's Video," I depicted violence but I failed to say all that I had to say, so I wanted to continue the dialog and that's why I did "Funny Games." The irony is that after I shot "Funny Games," but it hadn't been released at all anywhere.

Let me tell you something. I'm a funny girl, and I gave birth to what? Funny. I can't help it. It just is what it is, and my kids have been around my antics so long, it kind of rubs off a little bit. So when it comes to what you see, you only see what is really manifesting in our lives at the time.

Films are big hits when they touch a lot of people. Things are not funny in a vacuum, they're funny because we respond to some personal dislocation, some embarrassment, some humiliation, some pain we've suffered, or some desire we have.

What we set out to do with this movie [Leaves of Grass] was to create something that was funny and serious and had large tonal ambitions. A movie that could be poignant and funny, and suddenly quite violent. To have a character utterly sideswiped, and to learn that life is about balance.

Of the total creative effort represented in a finished work, 75 percent or more of a writer's labor goes into designing the story designing story tests the maturity and insight of the writer, his knowledge of society, nature, and the human heart. Story demands both vivid imagination and powerful analytic thought.

I was just a goofy little funny kid, who was always getting sent to the principal. It wasn't serious because I was smart. I wasn't like a true troublemaker, just rambunctious - like, talkative and trying to be funny. That was me in middle-school.

I think names and suits are funny. Normal names in insane situations and dumb suits are funny.

People often ask me how I make things funny. I don't make things funny.

Wait. Let me guess. You’re giving me the cold shoulder, right?” With that, she sighed. “Shouldn’t you be with your friends, staring at yourselves in the mirror?” He laughed. “That’s funny. I’ll have to remember that.” “I’m not being funny. I’m being serious.” “Oh, because we’re so good-looking

A lot of times I don't know if I trust the director to tell that film's story. Or I think it's inappropriate for a male director to tell a female story, or a white director to tell a black story. Everyone walks away from a movie differently, because you're relating it to your own life.

I think when people begin to tell their stories, everything changes, because not only are you legitimized in the telling of your story and are you found, literally, like you matter, you exist in the telling of your story, but when you hear your story be told, you suddenly exist in community and with others.

Instead of improvisers who want to be funny by themselves, we aim to try and make the scene itself as funny as possible. As a creator, I think that's someone you'd rather work with, whether it's a movie or a sitcom; that kind of methodology is good for collaboration. People want to be with those kinds of performers.

There are really funny alternative comics and really funny straight comics who write and perform traditionally.

Memoirists, unlike fiction writers, do not really want to 'tell a story.' They want to tell it all - the all of personal experience, of consciousness itself. That includes a story, but also the whole expanding universe of sensation and thought ... Memoirists wish to tell their mind. Not their story.

I've always written. At the age of six or seven, I would get sheets of A4 paper and fold them in half, cut the edges to make a little eight-page booklet, break it up into squares and put in little stick men with little speech bubbles, and I'd have a spy story, a space story and a football story.

Sometimes I think I'm funny. But then sometimes I see myself, and I think, 'There's somebody trying to be funny.'

If you find a story that everybody likes and everybody relates to in some way, then you know you have a good story. But if you're telling a story and all the women are going, 'I'm checked out of this, I just don't really care,' then you're going to have some problems.

When I was a kid I didn't feel like I fit in because - this is really silly and I probably shouldn't say it, but, I didn't think anything was funny. So I used to go home and literally cry to my mom and my step-dad at the time and I didn't think anything was funny. I couldn't laugh.

Comedy came early. I knew when I was a kid that I was silly, and I knew that I liked people who were funny, but I don't think I knew I was funny. I didn't really think about it.

When I was in high school, there was 'Superbad' and 'The Girl Next Door' and 'Wedding Crashers' and all these great movies. You hope to be a part of something that's smart, funny and in that Todd Phillips-vein. You want to make something like 'Superbad.' That movie was so good and so funny.

A short story is confined to one mood, to which everything in the story pertains. Characters, setting, time, events, are all subject to the mood. And you can try more ephemeral, more fleeting things in a story - you can work more by suggestion - than in a novel. Less is resolved, more is suggested, perhaps.

Creators, makers of the new, can never become obsolete, for in the arts there is no correct answer. The story of discoverers could be told in simple chronological order, since the latest science replaces what went before. But the arts are another story- a story of infinite addition. We must find order in the random flexings of the imagination.

I think funny comes from tragedy and time. And I think that's where I get it. I'm able to take things that are serious and sad, and turn it into funny. In all honesty - this is after a lot of therapy - I think that, you know, I need love from something, and so now, I find it through performing.

If you tell the reader it's funny, then the audience is like an audience at a stand-up comedy club and they expect you to be funny, and if you're not, they notice. Whereas if you read a regular op-ed about Israel or the family or medicine, you're not starting with the assumption that you're supposed to laugh.

People wince when something is in bad taste. They laugh when it's funny. If it's too dirty or wrong, they won't laugh. But if it's a big, dirty, smart, funny laugh, they love it.

To make magic credible on screen is always very difficult. The story is the most important thing. That is what should win. If sacrifices or compromises are made, it's usually for story. Story in magic is very, very important to me. That's what I've really championed through my career.

When we're in the story, when we're part of it, we can't know the outcome. It's only later that we think we can see what the story was. But do we ever really know? And does anybody else, perhaps, coming along a little later, does anybody else really care? ... History is written by the survivors, but what is that history? That's the point I was trying to make just now. We don't know what the story is when we're in it, and even after we tell it we're not sure. Because the story doesn't end.

The creation story unfurling within the scientific enterprise provides the fundamental context, the fundamental arena of meaning, for all the peoples of the Earth. For the first time in human history, we can agree on the basic story of the galaxies, the stars, the planets, minerals, life forms, and human cultures. This story does not diminish the spiritual traditions of the classical or tribal periods of human history. Rather, the story provides the proper setting for the teachings of all traditions, showing the true magnitude of their central truths.

What I love about the Bible is that it's a group of stories but it's all telling one main story. It's about Jesus Christ. The story is not about me. That takes a lot of the pressure off me, but it also puts the responsibility on me to point people to who the true story is about.

We're a phenomenally snobby society, and it's such a rich seam. The middle class is so funny: it's the class I know best, and it's the class where you find the most pretension, so that's what makes the middle classes so funny.

People always ask me, Do you ever think you'll wake up one morning and not be funny? That thought would never occur to me--it's an odd thought and not realistic. Because funny and me are not separate. We're one.

To me, comedies are usually the least funny movies. Movies that are actually a comedy are usually not all that funny. To me Goodfellas and Raging Bull are two of the funniest movies I ever saw.

I got me a fine wife and I got me old fiddle, when the suns coming up I got cakes on the griddle. And life ain't nothing, but a funny, funny riddle.

And the moral of the story is that you don't remember what happened. What you remember becomes what happened. And the second moral of the story, if a story can have multiple morals, is that Dumpers are not inherently worse than Dumpees - breaking up isn't something that gets done to you; it's something that happens with you.

I can't watch other people doing comedy. As soon as somebody starts being funny I have to turn off because it upsets me. I get comedy indigestion. I just hate anybody else being funny. That's my job.

The stories just keep showing up in my head - and I really hope they keep it up! I write what I'm told, and as long as I do that, I don't have any problems with writer's block or anything. The issues come only when I try to force the story or the people in it to do things they don't want to. As a control freak, it's funny that I've learned to be so comfortable with being out of control in what is arguably one of the most important areas of my life!

The autobiographer looks at life through the lens of his or her own life and really uses herself or himself as the jumping-off place to examine the social mores and the economic and political climates. In a way, the autobiography becomes history as well as the story of one person, for it becomes the story of a family or the story of the state or nation.

And identity is funny being yourself is funny as you are never yourself to yourself except as you remember yourself and then of course you do not believe yourself.

People would ask me, 'Is he as funny at home as he is in the movies?' ... I would have to answer, 'Well, he can be funny. But he is also very serious. He has insomnia and if we him up early, he would bawl the hell out of me'.

A sponge is a funny animal to center a show on. At first, I drew a few natural sponges - amorphous shapes, blobs - which was the correct thing to do biologically as a marine science teacher. Then I drew a square sponge, and it looked so funny.

I'm telling the story, and if I can't tell the story, I'm not going to sing it. And if I don't agree with the story, and if I got to sing something that portrays me as something I'm not, then I'm not going to sing it either. I didn't even want to sing Aretha Franklin's 'Chain of Fools.'

America has this fascination with glorifying the villain and not talking about the trials and tribulations. We tell the story of the successful villain a lot of times, but we don't tell the story of the people who don't come out so successful, and we don't tell the story of all the bystanders of that choice.

The story was such that I couldn't make a graceful ending and then make a graceful new beginning. I could have, but I didn't want to. So, it isn't the most graceful way of writing a story. This new story is, I think, is pretty good stuff. I'm pleased with it anyway.

Some people are funny, and some people are not funny. Many people who are not funny can make a living at it. You don't have to be great to make a living at it. Just like a doctor who doesn't have to be great can still make a living out of it.

He's a jokester, and that's funny, very funny. Ha-ha. Very funny.

The funny thing is the songs that people think are about me probably aren't. And the songs that are probably are the ones they wouldn't think... so that's where it kind of is funny.

It's funny because it's funny.

JaVale McGee is one of the smartest guys I know. Like, he's a nerd, plays with gadgets, and is into technology. He's funny - he's got crazy jokes, and his timing with jokes is really funny. You have to be really smart to think the way he does.

He said to me I was a tree in a story about a forest, and that it was arrogant of me to believe any differently. And he told me the story of the forest is better than the story of the tree.

I think when people begin to tell their stories, everything changes, because not only are you legitimised in the telling of your story and are you found, literally, like you matter, you exist in the telling of your story, but when you hear your story be told, you suddenly exist in community and with others.

We know story collections end when they end, as well - the pages serving as a countdown - but nevertheless the standard story anthology hews closer to what makes being human so hard: it reminds you with each story how quickly everything we are, everything we call our lives can change, can be upended, can disappear. Never to return.

If the writing is good, then the writing is already funny. All you have to do is make this funny writing true to the very deepest of your heart, and the fact that you are capable of making this true will be hysterical.

In every generation there are a few people who are authentically funny. The cosmetics change. You may not be able to articulate it, and you may laugh at them and get a certain amount of enjoyment. But when you're asleep at night, and you wake up at 3 in the morning, and you're alone in your bed, you know who's really funny.

Well, first you have to be very, very funny. I have realized that it is essential for a boy to be funny. Otherwise, what is the point in a boy?

I love my 'Survivor's Remorse' cast. They are so funny and crazy, like a big dysfunctional family. It's so much fun, and I love the issues that we talk about on that show. We deal with nuanced and controversial issues, and we do it in a way that's funny. It's comedy.

Chris Hemsworth is like Christopher Reeve in that he can do two things: he can wear a big red cape without a shred of self-consciousness. But he's also funny as hell, and he's so sweet. So with all the fish-out-of-water stuff, he's so funny. So he does almost two jobs in a way.

Some people ask why we don't just wait until we have the whole story before posting. The fact is that we sometimes can't get to the end story without going through this process... When a story is up and posted, it's amazing how many people come out of the woodwork to give us additional information... And readers love it.

One of my standard - and fairly true - responses to the question as to how story ideas come to me is that story ideas only come to me for short stories. With longer fiction, it is a character (or characters) coming to visit, and I am then obliged to collaborate with him/her/it/them in creating the story.