Top 1200 Funny Videos Quotes & Sayings - Page 20

A whole new generation is looking at the videos, and going to the video shop and buying the re-release of the complete trilogy, which you can buy at a reasonable price.

Sure, I would have loved it, if we'd gotten 2,000 screens, but I never had that delusion. I was very realistic. I think it's a success, in that it turned out funny, I got everyone I wanted to be in it, and it will get seen. The hope is that it gets a little cult following. I think people will be surprised about who's in it and how funny it is. That's my hope.

The path that Lonely Island took got us excited to think we could get somewhere legitimate by making little videos.

When I try to be funny, it always makes me more nervous that I'm trying too hard, and then my brain that already thinks too much jumps into hyper drive, and I light-speed start talking 'Star Trek' to someone who's talking 'Star Wars.' Anyway, it doesn't work out usually when I 'try' to be funny.

People always say, when did you realize you were funny? And I think it's not that you realize you were funny. It's that you're brain works in a certain way. And I don't think that that's - I think in some respects it's uncontrollable, and you can either accept it and deal with it and hone it or you can try to fight it. And I was too weak to fight it.

It is obvious that the Internet has become such a video-driven entity. With broadband becoming ubiquitous, viewers and advertisers are looking for professional-quality videos.

In the U.K. and Ireland, crowd-work is a big thing. It shows you how funny someone would be if you met them off-stage. Americans don't care if you're funny off-stage. They want to see the writing; they want to see the work you did.

I'm rather old-fashioned about this video business. It's all relatively new. We really don't do videos, Fleetwood Mac. We've only done two.

Jc and I love our YouTube audience, and we're going to keep producing videos, but we're also really interested in learning what other opportunities are out there.

I want to tell Miranda's story more broadly than what I have been in these five-minute videos on the Internet. She can live in a longer format.

I just feel like you've got to leave the viewer wanting more, and that's what those kinds of videos from the early 2000s made me want.

There are early videos of me at three years old with a tiny guitar trying to sing 'Friends in Low Places' by Garth Brooks.

Sometimes it gets a little too bubblegum for me, but what I do love about KPop videos is their attention to detail, and their choreography and dancing are always spot-on.

I had started in the comedy world in a more traditional way. I was auditioning for TV, film, and commercials while I was making these Web videos from my house.

In the States, time with friends can feel a bit like those PETA videos of chickens on factory farms: slotted and squeezed into tight compartments.

There's different kinds of improv. There's Second City improv where you try to slowly build a nice sketch. There's stuff you do in college coffee houses where you just go joke, joke, joke. Bring another funny character with a funny hat on his head. Christopher Guest is more the line of trying to get a story out.

It really is no different in the way that we make records and shoot music videos. I don't think of the movie as being a great leap out of my current profession.

Dropping the news to my parents that I was skipping my 'dream education' at Chalmers to sit at home recording videos while playing video games was not easy.

I started studying filmmakers, and I would say early on the ones that really inspired me the most were like the field magicians of music videos.

Musically, I wear many hats. I'm the social media director. I conceptualise the videos, write the songs, do the press. I'm not a major label act.

'Funny Games' was conceived as a provocation. My other films are different. If people feel my other films are, or respond to them as provocation, then that's quite different. 'Funny Games' is the only one of mine where my intention was to provoke the audience.

I'm not a boy-writer, I've never been. I wanted to be a boy-writer when I was young, and I think that held me back. I wanted to be very clever, and funny, but I'm not very clever and not terribly funny. I've finally accepted my limits, and I do what I can do.

Shania Twain brought a whole other fan base to country music with her sound, the way the videos were produced.

I was actually thinking about starting like an app where you can watch videos of me carrying Daniel [Radcliffe in Swiss Army Man].

At 13 you're not even thinking about that, you know? I was just playing for fun and uploading videos on YouTube because I wanted to show my family.

I would come home after school and begin to create videos, because there was people waiting to see new content from me.

Oftentimes, a funny situation is funny because it's uncomfortable or weird. The most memorable stories, or the stuff that you repeat to your friends, it's not like, "Oh, I had a pleasant day, nothing happened on the bus today." It's when strange things happen, when you become uncomfortable or knocked out of your own reality, those are the things that are interesting.

The actors come in and they make characters their own and so Patrick and I have never been the kind to think that our script is the bible. We want to make sure that the story is told, that you stick to the story but if you have to make changes to the character then that's fine. A lot of times there are some funny one-liners, funny things that happen that are out of the ordinary. I like it.

Whether it be tour posters, album packaging, videos, stage design, etc., the visual aspect of music is very important to us.

These days, it's not enough for models to just do shows and photo shoots anyway, you have to be making videos and finding ways to create other content - that's what I think.

They didn't know why these things were funny. Sometimes you laugh because you've got no more room for crying. Sometimes you laugh because table manners on a beach are funny. And sometimes you laugh because you're alive, when you really shouldn't be.

Because I was familiar with Taika's Watiti work and there's a very subversive, funny streak amongst all of them. I don't think he turned [Hunt for the Wilderpeople] into a sort of drama, there's too much dark material underneath it for it to be a comedy; it wasn't designed to be a comedy. I think it's a comedy... I think it's a drama that's funny; which is different.

I didn't have any role models of artists that were in the same playing field as me - making expensive videos, travelling, marketing and promoting an album.

I'm not really a line type of guy. I mean, pick-up lines work for some guys. You gotta really sell that thing hard. I did try one pick-up line, and it failed miserably. I thought it was really funny, but the girl didn't find it very funny.

It was easy to make fun of Bush, but it was sort of like shooting fish in a barrel and it didn't really feel all that good because it was so easy to do. I would much rather live under a thoughtful president. Even if it makes it harder to be funny about politics, it makes it more interesting to be funny about politics.

I'm known as a person who, like, steps out of the comfort zone. Who kind of breaks the rules and crosses the line in the sense of making YouTube videos.

E-mails, phone calls, Web sites, videos. They're still all letters, basically, and they've come to outnumber old-fashioned conversations. They are the conversation now.

Actually, it's the beauty of independent music that the artist can feature in his own videos and be the face of it. It is unlike Bollywood movies, where one does playback singing.

What is true, though, is now we've got a bunch of videos that whatever side of the issue you're on, raises the temperature on these issues and makes people really focused .

There are a lot of coming out videos of people who are gay or lesbian, and they're so confident. But it made me cry because I'm not that. I don't know who I am 100 percent.

During the '90s or the first half of the zeros, whatever you want to call them, I was just doing a lot of videos, and that was my only thing. I was super-focused on that.

When I was, like, 16, I went in to the head of Disney, and I hadn't taken acting class really at all, and I didn't know what I was doing, and it was really embarrassing. Of course, you think Disney wants over-the-top and funny, and I was just trying to be over-the-top and funny, and it just wasn't working, and that was the worst.

I'm not the best trainer in the world. I'm not the most technical or scientific. But I consistently put videos out there, whether it's for your grandma or a young toddler. And I'm relentless.

There's no continuity in videos... you can jump around all over the place. In features, you can't throw in a close-up of a musician stomping on a guitar - you have to film a scene.

I enjoy the videos with the sound off, where you can look at the belly buttons and everything. Really some pretty girls, but I don't know about the music.

I am a musician who also does love to explore the world in many ways, so my approaching with my songs, videos, and haikus is: 'Make It Real.'

The moment you think you're not funny, the next funny thing you think of is just around the corner. So you have to appreciate the natural breathing patterns, the ups and downs. There are moments you're going to be hilarious and moments where you're going to be not so hilarious. That's just the way it works.

It feels like Gangstarr is the purest group in hip-hop. They was shooting videos on the beach in the winter when the water was ice. Razor-blade music.

I learned from making a few of these low-budget videos early on that the best way to go about doing it is just to keep it honest and real.

If you merely focus on what we already know, then it's not revelatory. You may as well just go and watch a documentary or a few videos on Youtube, and you're good.

For many people, when they come to Twitter, the language is opaque. We need to push the scaffolding to the background and bring the content forward. The media, the photos, the videos.

Back in college, I remember shooting stupid videos with my friends. It would be us going around town in capes pretending we were superheroes.

I really don't have a type. I never had a type. If I could put them all together, it's, like, the most different grouping. So I love when guys are funny. I love guys that are funny and goofy and over the top. And you know, I really like personality.

When I walked in on 'Drag Race' and saw Katya, I had no idea she was gonna be funny, because she was stunning. She had this perfect red lip, I remember looking into her eyes and being like, 'This is a woman!' Then she was really funny. She kind of presents normal, and it's a one-two punch with the comedy.

There was a time when stars were made out of music videos but today singers rely on actors to make their singles hit. I find that sad.

I don't have many expenses as a college student (mostly food) so I'm able to put advertising revenue right back into the production of new videos.

Many of the short videos on Vine feel as though they belong to an ever-evolving, completely new genre of modern folk art.

Downstairs in my house, I have a museum room. I keep all of my awards down there, and childhood photos, and even all the clothes I've worn on tour, in videos and on album covers.

I thought it would be a funny concept to publish a book about stand-up comedy with Faber, the poetry publisher, and to apply to stand-up the same sort of weight of annotation that you would to a classic work of literature, an epic poem. I thought that would be funny.

It's very important for singers to feature in their videos because when we do playback for Bollywood, we tend to become the voice of the character - whether it's the actor or a situation that we are singing for.