Top 1200 Musical Comedy Quotes & Sayings - Page 3

I'd love to do a musical one day - a theatre musical.

Comedy doesn't come easy for me. I've only done 2 movies that are really comedy-style films and I have to work at them. And they're just as scary in a way. I hate labeling all these things; comedy, love stories, dark drama, whatever.

In 'Seesaw,' I played Gittel Mosca, and because it was a musical, I loved it more because I was able to do anything. I was able to use all parts of me that I don't get to use... the comedy and the singing and the dancing.

I am not considering shifting my image from action to comedy or romantic comedy. I have done or am doing films which are action-oriented: comedy roles and romantic-comedy roles.

So far as musical pedagogy is concerned - And by extension of musical creation - Nadia Boulanger is the most influential person who ever lived

There's a lot of comedy in Intermission but it's got this depth. It's not comedy for comedy's sake - it's informed by something else. I like stuff like that.

I was in musical comedy. And I did very well, but the memorization killed me. I'm not good at memorizing, and it gave me a lot of anxiety. I hated the makeup. I hated all that pancake makeup. I didn't really like dressing for parts.

I don't just come from a musical family, but from a musical community.

I am not doing comedy because the genre is successful. If that was the case, I would have done a run-of-the-mill comedy film. I set my own trends. I like to give something new and different to my audiences. I want to do the kind of comedy that has been missing till now.

Neck-down comedy was no longer valid after the 1980s alternative comedy revolution. Everything became about the cerebral. And with that came positive things - it helped get rid of some of the sexism and homophobia - but it also meant a lot of physical comedy was lost.

I love musical theater so much. When done right, I think comedy songs can be the most efficient form of joke delivery. Songs can be the most efficient and the best forms of conveying emotion. Music is universal. It's worldwide.

Shakespeare is rhythmic; he is musical in the sense that he likes poetry, and he's musical because he constantly refers to settings where there's singing and dancing.

Every year I used to write a musical inspired by John Waters, and I would get all my friends together and put on this perverse, emotional, tragic musical.

I'm not saying that comedy has to be a certain thing - I'm not trying to define comedy, where it's like, it can only be silly things. But I think part of what makes a comedy is that at least part of the mantra of the show is trying to make people laugh.

Like all teenagers in the early '60s, I put down my hockey stick when the Beatles got big and picked up a guitar. We all thought we'd be rock stars. Then I got into comedy, but I'd always find a way to use my guitar, such as writing songs and doing musical parodies.

Ireland, Italy and Brazil are the most musical places for me. They're extremely musical cultures and anything you pitch they basically catch.

The idea of a musical comedy was something we had had in mind for many years, but the project 'Igudesman & Joo: A Little Nightmare Music' has a history that goes back five years. I can say that this is the most successful project that we have ever done.

I first did stand-up when I was 17, and then I passed out fliers for a comedy club (in New York City) and I got onstage whenever I could. And musical theater went out the window as soon as I started doing stand-up.

I think first thing and the most important thing, for me, is that Boston becomes my musical home, my musical family.

I'm writing a political comedy that takes place in Canada in Quebec. It's funny. Saying political comedy is a little redundant but it's a first. I've never done any comedy per se.

One of the major aspects of film composing is that it's not so much a musical thing as it is communicating your ideas with the director, who often does not come from a musical background.

The main thing a poem ought to be is musical. It should be rhythmic. You should hear it as a musical piece in your head as you're writing it.

It's been in my musical DNA since I was a little kid. I think musical theatre has really influenced everything I've done.

I love straight-face comedy or relatively subtle comedy. And then I turn around and I find myself doing very broad comedy but it's all fun and you have to keep your sense of humor and not take yourself seriously.

Whether it's animated, whether it's live-action, whether it's Broadway, whether it's television, a musical is a musical is a musical. So, pretty much, you approach the songs in pretty much the same way.

There's a lot of comedy in Intermission but it's got this depth. It's not comedy for comedy's sake - it's informed by something else. I like stuff like that

A musical education is necessary for musical judgement. What most people relish is hardly music; it is rather a drowsy reverie relieved by nervous thrills.

I'm a weird dichotomy of nerd, sports fan, and musical theater, so I'd love to do a superhero musical on Broadway. But all the good superheroes are claimed.

There was something so best-musical-ever when people screamed and begged for mercy, and she could listen to a good musical all day.

Producing a one-hour show that has to reinvent musical numbers, and interpret those musical numbers with a large cast, is difficult.

We decided we didn't want to do a musical for TV because the idea of writing a musical that would be seen on television once seems insane.

I know the musical world as well as I know the comedy world.

Any performer would love to have the opportunity to be able to express themselves in many different areas. If you feel confident in those areas, you would hope to have the opportunity to do them, whether it's drama, comedy, musical, or whatever your interests are.

I wrote a play at drama school, which was a dark comedy - people laughed and cried. And then my script of one of the shows was picked up by a comedy sketch company... so then I had to write comedy.

My parents were big movie-musical fans. And I thought 'Grease' was different from the usual MGM musical. I was intrigued and fell in love with it.

I came to musical theatre from straight acting, and a lot of my friends have a real prejudice about musical theatre - one I probably shared.

Anything can be a musical if it makes sense for it to be a musical.

My dad's my biggest fan. When I went to college, my dad came into my life in full-on dad mode. I was doing comedy, and he was so excited for my comedy, whereas my mom wasn't. So we bonded through comedy.

I think women are different, and I think having them in the room is crucial to a family comedy, ensemble comedy, television comedy, where half the eyeballs on your show are women.

I was in California, and I was going to UCLA, and I knew I certainly didn't have movie star looks. I remember seeing pictures and photos of Ethel Merman and Mary Martin, who were kind of average looking. I said, 'Well, that's for me, then, to go back to New York and try to be in musical comedy on Broadway.'

I thought if I could do stand-up comedy well enough, I could parlay it back into films - like Charlie Chaplin and Woody Allen did. They merged principles of comedy and drama together, and that's what my first film really was, a stab at that kind of comedy.

I always wanted to do musical theater. That was where I saw my life going since I was a musical theater major in college before I went to Pentatonix.

But I'm not adverse to the idea of Torch Song as a musical. It would just be different. Because the play will always be there exactly as it was, and in a musical you could tell a lot of the story through songs.

There is no late-night comedy. You watch comedy, you watch whenever you want to tune on. You can it in the middle of the night. You can it in the morning. It's all comedy. They just label it late-night comedy so they don't have to pay as much.

Nowadays if you talk of comedy as a film genre, you cannot create a simple comedy film, because there are so many other platforms where you can watch comedy free of cost.

I primarily have had my career in comedy, and that is something that I have never been too concerned about because I know there is really no room for vanity in comedy. Comedy comes from pain and it is a lot easier to empathize with somebody who is out of shape.

I love doing comedy. You don't get many good comedy scripts. They're rare. But, I do love playing comedy. Even in drama, I like to try to find the humor because I think it's very human.

The way I look at a musical, you are commenting on the human condition no matter what you do. A musical may be light and frivolous, but by its very nature, it makes some kind of social comment.

Comedy did a lot of things for me. I mean, 'SNL'? Not too bad. Not too shabby with this comedy thing. I have really worked on my comedy and really upped it some notches.

I've always been entranced when it came to musical comedy; it's probably my favorite thing. It's a real true American form, and it's big, like Shakespeare big, when it's right. It's loud, and it's big: you have to be ready vocally and physically. It can bring people to their feet and can be as thrilling as a circus.

The entire world is skewed from the white male perspective. If you're a woman, they have to say it's a female-driven comedy. If it's a comedy with Latinos in it, it's a Latino comedy. 'Normal' is white male, and I find that to be shocking and ridiculous.

I was voted Most Humorous in my senior class in high school, and I was a fan of comedy, my whole life. I never got into the horror genre, and action was fine, but I just loved comedy. Any comedy I could get my hands on, I would. I watched Saturday Night Live religiously. I've just been a fan of comedy, my whole life.

I've stopped doing things that aren't clear comedy gigs - to do something that's not "comedy night," it's a difficult thing. People have to be given permission to laugh. You need to know it's comedy; otherwise you might just think I'm a man talking out loud.

The actors today really need the whip hand. They're so lazy. They haven't got the sense of pride in their profession that the less socially elevated musical comedy and music hall people or acrobats have. The theater has never been any good since the actors became gentlemen.

I think I was first awakened to musical exploration by Dizzy Gillespie and Bird. It was through their work that I began to learn about musical structures and the more theoretical aspects of music.

I would love to do a Fred Astaire/Gene Kelly type movie musical - a fun, song and dance, romantic comedy. Or, even just play the lead in one of those broad comedies - that would just be fantastic.

People seem to want to give 'Flowers' a comedy or a comedy-drama label. I suppose it's closer to comedy-drama, but it feels like it requires a whole new definition all of its own.

The word 'supportive' has no place in stand-up comedy. I hate when people are like, 'Support female comedy.' That's not a real genre of comedy. I think if you have true respect for women as three-dimensional creators who are innovative, you wouldn't group them together like that.

In Seesaw, I played Gittel Mosca, and because it was a musical, I loved it more because I was able to do anything. I was able to use all parts of me that I dont get to use... the comedy and the singing and the dancing.

I wasn't a trained actor, I was trained in musical comedy theater, and when you do that, the audience is completely part of the thing. It's like Elizabethan theater. You play the scene, and then you turn - the audience is part of it.