Top 1200 Physical Comedy Quotes & Sayings - Page 20

An actor must communicate his author's given message--comedy, tragedy, serio- comedy; then comes his unique moment, as he is confronted by the looked-for, yet at times unexpected, reaction of the audience. This split second is his; he is in command of his medium; the effect vanishes into thin air; but that moment has a power all its own and, like power in any form, is stimulating and alluring.

When I first got to New York, Comedy Central was the only place to go if you weren't on HBO or network. And then FX, Adult Swim, and other sort of ventures came up, and all of a sudden there were other places to go, and I think Comedy Central is making a concerted effort to become a place where smart, funny weirdoes can come and do their stuff.

Who you really are is Non-Physical Energy focused in a physical body, knowing full well that all is well and always has been, and always will be. You are here to experience the supreme pleasure of concluding new desires, and then of bringing yourself into vibrational alignment with the new desires that you've concluded, for the purpose of taking thought beyond that which it has been before.

Like, your body has to get used to being in front of people. Like - and you have to be like - you have to be kind of a ham, you know? Like, the thing about writers is they're generally self - comedy writers - self-loathing, sort of play small. And as a, like, performer, you have to think like a comedy writer but act like a performer.

Fictional comedy tells us that the writer is remarkable. Factual comedy tells us that the world is remarkable. I suppose I prefer to live in a remarkable world.

Comedy people are always present because they're always looking for the funniest version of whatever the line is. Sometimes theater people, where scripts are sacrosanct, aren't quite as present in scenes. That's a massive generalization, but in my experience, I find that comedy people are great to improvise with and to do scenes with because they're there.

Fred Silverman, the head of ABC, he offered me a lot of comedy series but I told him I'd already been the best comedy series around, "The Odd Couple," and so when he saw that I did Quincy he called my agent and said, Jack turns me down? All my good series and he ends up playing an undertaker." And this was the HEAD of ABC series.

It would appear... that moral phenomena, when observed on a great scale, are found to resemble physical phenomena; and we thus arrive, in inquiries of this kind, at the fundamental principle, that the greater the number of individuals observed, the more do individual peculiarities, whether physical or moral, become effaced, and leave in a prominent point of view the general facts, by virtue of which society exists and is preserved.

In North America ice was smaller because in Russia we have big ice and this is small ice and it's a more physical game. Russia has more technicals and this has more speed and is a more physical game.

When you start doing comedy, you think to yourself, "I want to be a headliner." And you become a headliner, and you're like, "Oh wait, this isn't what I meant. I meant I want to be a headliner that's famous enough that people come see me specifically." And that's a huge leap, because most of the time most of the audience is there to see comedy in general. They're not there to see you.

Play more than one sport in high school. If you play, say, football and basketball, you can learn to be physical and you can take those physical aspects of both sports and become better in both sports. Basketball players use some of the same skills football players do and vice versa.

When I was working with Barry Sonnenfeld, I'd watch him set up a shot and talk to him about what he was seeing and what it was to shoot comedy. He told me that a lot of times with comedy, it's not just about getting the joke, but getting a reaction to the joke. That's the laugh - it's somebody's else's reaction to the joke.

'All Def' is unlike any other comedy show or set because 'All Def' goes back to the essence of how urban comedy started. We give it a 'stoop appeal.' A stoop appeal is important for us because it's where pretty much all black comics started doing their standup: cracking jokes on the stoop, in the hood.

The Soul is a fact, but it is not physical. ... Survivors of near-death experiences attest that some part of them apparently detaches from their physical bodies following the death of the body, but while that is proof of the soul for them, it does not prove it to us. The Soul is like divine music that only God can hear; it is the force of endless resurrection; the soul is like a fire that never goes out.

Science is empirical, all about physical senses that tell us about the world. But physical senses are not the only senses we have. Nobody has ever seen a thought. Nobody has ever seen a feeling. And yet thoughts and feelings are where we live our lives most immediately, and science cannot connect with that.

My childhood was lonely. Both my parents were away a lot, working, and the maid basically raised me. And I think that's where a lot of my comedy comes from. Not only was the maid very funny and witty, but when my mother came home I'd use humour to try and get her attention. If I made mommy laugh, then maybe everything would be all right. I think that's where it [my comedy] all started.

Successful or not, acts of physical courage always bring honor. It is the smaller forms of valor - standing up for principle at the risk of social disapproval, economic loss or injury to career - that require the greatest moral will power. Since there is usually little upside to winning and a significant and often lasting downside to losing, moral courage often requires as much character as physical bravery.

In the new science of the twenty-first century, not physical force but spiritual force will lead the way. Mental and spiritual gifts will be more in demand than gifts of a physical nature. Extrasensory perception will take precedence over sensory perception. And in this sphere woman will again predominate.

Just as the subtle physical body holds together the physical body, the causal body holds together the body of awareness.

I don't think it's good when entertainment tries to proselytize and I don't think people ultimately want someone showing up in their living room and just hectoring at them all day long. But if you can create a space where people are caught up in something - whether it's a drama, a comedy, a romantic comedy, or science fiction - that's when people give over their minds and allow their emotions to flow.

I really wanted to do a comedy. I've done a lot of drama, and comedy was the one genre I was not being offered. So I became obsessive about getting one. I tried with two little parts in comedies that were more mainstream, I was kind of fumbling around, and then I read The Brothers Bloom and knew it was the one I wanted to jump into. Did it take adjusting? Actually, it's not really any different from doing drama.

I don't think so much about verbal comedy. I always think about visual comedy. I was raised watching silents, and I'm always thinking about how to make cinema, not good talking - although I want good talking. I'm much more interested in framing, composition, and orchestration of bodies in space, and so forth.

Descriptions of inner, spiritual processes are much more liable to misunderstanding than descriptions of events in the physical world. Such misunderstandings arise easily because the life of the soul is in constant movement and because we fail to bear in mind that the life of the soul is very different from life in the physical world.

What do you mean, 'playing really creatively'? Can you give me an example?" "Hmm, let's see ... you send the music deep enough into your heart so that it makes your body undergo a kind of a physical shift, and simultaneously the listener's body also undergoes the same kind of physical shift. It's giving birth to that kind of shared state. Probably.

There's a way of doing comedy that feels true to the person doing it, that doesn't feel like clown-work or silly faces and antics, but that feels real - like you're playing a real person who has real thoughts and feelings, and it's very grounded. I started to watch all comedy through that prism.

The myriad-minded man, our, and all men's, Shakespeare, has in this piece presented us with a legitimate farce in exactest consonance with the philosophical principles and character of farce, as distinguished from comedy and from entertainments. A proper farce is mainly distinguished from comedy by the licence allowed, and even required, in the fable, in order to produce strange and laughable situations. The story need not be probable, it is enough that it is possible.

I'd done light comedy. In some quarters, About Last Night... is a romantic comedy. So it wasn't like I'd been doing Sophie's Choice my entire career. But for whatever reason, nobody had really given me the room or the ability to be out and out funny. And Lorne [Michaels] and Mike [Myers] and Chris [Farley] and Dana [Carvey], that crop really helped me do that.

I would love to be able to play anywhere, but to me the sweet spot is clubs and theaters, just because I feel like you lean in to tell a joke. You don't back up. Comedy lives in that area. I've played amphitheaters, big clubs, and pool halls, and the most fun rooms hold anywhere from 500 to 2,000 people. That intimacy is where comedy really lives.

I don't personally feel comfortable performing in a comedy club, mainly because as an audience member, I've never enjoyed that experience. It feels a little bit theme-park-ish to me, in that it's a club whose product is comedy. I find that weird. It's like those specialty chocolate stores, where everything is chocolate. It's too specific. I like going somewhere that specializes in variety.

I want to get physical, let's get into physical, let me hear your body talk, your body talk.

In a gray area, you don't have to provide an answer. And I don't want to. I don't want to make a comedy that's like, well, here's the answer. I don't want to make a comedy that's like, this is how to be a Muslim.

Our spirits...require nourishment. Just as there is food for the body, there is food for the spirit. The consequences of spiritual malnutrition are just as hurtful to our spiritual lives as physical malnutrition is to our physical bodies.

The world won't necessarily change but your understanding of it will, and therefore the world will change. Your attention will no longer be confined to the physical body and the physical world.

Comedy is such a vulnerable thing. With drama, you're not trying to make someone cry. If you do, great, but that's not your goal. With comedy, you're trying to make someone laugh, so to me, it's harder because you are in such a vulnerable position. You're like, 'I hope people like this. I hope I do the joke justice.'

I get the greatest joy from just doing anything, being an actor. Doing music, and doing what I love to do. I don't make a huge distinction between comedy and drama. I think the whole point is just trying to be as honest, from moment to moment, as you can be. If you're honest about the material, and the material is ridiculous, then you're in a comedy.

When Steampunk meets adventure and adventure meets comedy and comedy meets ingenuity and ingenuity meets charm and charm meets wonder and wonder meets pleasure the result is a Triumph. Dr Grordbort is the future. And the past. Which makes an ideal present.

I always wanted to be a comedian. I loved comedy since I was a little kid, and while I was at university I started doing stand up shows. Once I realized that I was good at it I quit college and left although I had six months left. I went to England. I could have done the last six months but I realized that I was better at standup comedy than I was at singing opera.

For sure, with golf it's not a physically demanding sport like tennis. That's what makes tennis great - you combine both things. It's a very mental sport and at the same time can be dramatically physical. But I do admire the mentality of sport more than the physicality because physical performance is much easier to practice than mental performance.

Every time I've done comedy in, like, traditional comedy clubs, there's always these comedians that do really well with audiences but that the other comedians hate because they're just, you know, doing kind of cheap stuff like dancing around or doing, like, very kind of base sex humor a lot, and stuff like that.

I can only describe it as: the whole experience was imprinted on my body. And when I started to write it, it just came from such a very, In The Body of the Worldvery physical... it just came from my body. I don't know how to explain it better than that. I guess my head was transmitting it. It was a very, very physical experience writing this book.

One influential philosophical position about the use of probability in science holds that probabilities are objective only if they are based on micro-physics; all other probabilities should be interpreted subjectively, as merely revealing our ignorance about physical details. I have argued against this position, contending that the objectivity of micro-physical probabilities entails the objectivity of macro-probabilities.

It is frequently said that speech that is intentionally provocative and therefore invites physical retaliation can be punished or suppressed. Yet, plainly no such general proposition can be sustained. Quite the contrary.... The provocative nature of the communication does not make it any the less expression. Indeed, the whole theory of free expression contemplates that expression will in many circumstances be provocative and arouse hostility. The audience, just as the speaker, has an obligation to maintain physical restraint.

If emotion can create a physical action, then duplicating the physical action can re-create the emotion.

A comedy isn't about being funny," said Mrs. Baker. "We talked about this before." "A comedy is about character who dare to know that they may choose a happy ending after all. That's how I know." "Suppose you can't see it?" "That's the daring part," said Mrs. Baker.

The object of a comedy is not to correct morals or ridicule the vices of society; no, a comedy should depict the discrepancies between life and purpose, should be the fruit of bitter indignation aroused by the degradation of human dignity, should be sarcasm, and not an epigram, convulsive laughter and not an amused grin, should be written with bile and not diluted salt, in a word, it should embrace life in its highest significance.

Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.

There has been evolution in my work. In the beginning I was very much busy with the physical body and the limits of the physical body but that somehow naturally led me to the mental body and how I could deal with that. Stillness is so much harder, especially for three months. It was a big challenge. As a performer it is the most difficult experience one can have. And the interactive experience with the public made it even harder.

Comedy is very interesting because you can very quickly cross into dangerous territory. I mean look at what happened, unfortunately, (in) Paris a couple of weeks ago. They were making comics - which were really satire - but it offended people. I'm not saying the reaction was justified but there's definitely a line when you're doing comedy or satire and how it might affect somebody. That's the thing you have to watch and I think you have to be respectful of it.

I think there is more comedians now than ever, more venues now than ever. There are stand-ups who live in towns where they don't have many comedy clubs where they are organizing more comedy nights in bars. I just think this is a fantastic time for stand up.

It is prima facie highly implausible that life as we know it is the result of a sequence of physical accidents together with the mechanism of natural selection. We are supposed to abandon this naïve response, not in favor of a fully worked out physical/chemical explanation but in favor of an alternative that is really a schema for explanation, supported by some examples. What is lacking, to my knowledge, is a credible argument that the story has a nonnegligible probability of being true.

A book, being a physical object, engenders a certain respect that zipping electrons cannot. Because you cannot turn a book off, because you have to hold it in your hands, because a book sits there, waiting for you, whether you think you want it or not, because of all these things, a book is a friend. It’s not just the content, but the physical being of a book that is there for you always and unconditionally.

This concern with the basic condition of freedom -- the absence of physical constraint -- is unquestionably necessary, but is not all that is necessary. It is perfectly possible for a man to be out of prison and yet not free -- to be under no physical constraint and yet to be a psychological captive, compelled to think, feel and act as the representatives of the national State, or of some private interest within the nation, want him to think, feel and act.

I always wanted to be a comedic actor - that's what I wanted from the job - to do comedy and to create my own comedy. But I still love doing stand-up and will probably be doing it forever. I'd love to be an old guy who can't really walk, can't really stand-up, and I have to sit on the stool and tell jokes.

Please be careful of becoming so immersed and engrossed in pixels, texting, ear buds, Twittering, online social networking, and potentially addictive uses of media and the Internet that you fail to recognize the importance of your physical body and miss the richness of person-to-person communication. Beware of the digital displays and data in many forms of computer-mediated interaction that can displace the full range of physical capacity and experience.

I've always wanted to do action stuff. I like it. You really want something that's special; that's got something special about it and not cheesy, I guess. I'll tell you something, it's fun, it's different. Comedy is difficult. Doing comedy is very difficult. Action stuff is fun.

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.'

I realize the dominating thoughts of my mind will eventually reproduce themselves in outward, physical action and gradually transform themselves into physical reality, therefore, I will concentrate my thoughts for thirty minutes daily, upon the task of thinking of the person I intend to become, thereby creating in my mind a clear mental picture of that person.

There is much suffering in the world - physical, material, mental. The suffering of some can be blamed on the greed of others. The material and physical suffering is suffering from hunger, from homelessness, from all kinds of diseases. But the greatest suffering is being lonely, feeling unloved, having no one. I have come more and more to realize that it is being unwanted that is the worst disease that any human being can ever experience.

Scientists study physical things, then describe them; engineers describe physical things, then build them.

Most of the jokes that I wrote were funny and there always seems to be an aspect of comedy in my long-form work. I think that's how life is. I think even the more dramatic moments of one's life are often punctuated by very funny comments or situations. I like to say, "Keep your comedy serious and your drama funny, and you'll be pretty true to life."