Quotes About Comedy

I always told everybody the perfect joke would be where the setup and punch line were identical.

Saying gay people shouldn't be the punchline is basically saying don't make people the punch line, which I think is ridiculous. The whole point of comedy is, on some level, to make fun of ourselves and put everything into an absurdist context.

If you have the right voice and the right delivery, you're cocky enough, and you pound down on the punch line, you can say anything and make people laugh maybe three times before they realize you're not telling jokes.

My greatest fear is that the audience will beat me to the punch line.

I did not watch many of my father's films because he used to do action movies. So when anyone punched my dad I used to get scared. I have loved him in comedies. I loved him in 'Hera Pheri.'

There's something really powerful about comedy. When the little guy, the comedian, punches up towards the big guy, or Trump, exposing him, calling out the emperor for having no clothes, that's really important.

As a comedian who's used to, like, punching the jokes, it's hard to teach yourself that that's not the strong choice in the sense that you have to really have to dial it back.

I really respect those guys that get $250,000 for punching up scripts, because it's an art form.

When I look at it now, the whole punk thing is sort of comedy in a weird way.

I think the humor of double puns is incredible.

I love making puns.

I like really bad puns - proper, red-top, nasty puns - I find them funny.

Americans don't like puns and plays on words, which is totally opposite in the comedy world to France or even Italy and Germany.

I grew up in an environment of jokes and sarcasm and puns. I talk that way, so I write that way.

I'm probably doing puns more than anything in my life.

One time, it was really funny, I was going on stage... and they were like, 'Oh, we didn't mic the puppet! Mic the puppet!' So, that's how I know that sometimes I do a very good job, because they think that the puppet is actually, like, real.

I think you could take any Bruckheimer movie and do it with puppets, and it would be screamingly funny.

You know, working with puppets - there is just something about it. Because the puppet takes on its own personality.

I don't want to be known as this goody-two-shoes who can only do comedies where puppies are licking peanut butter off my face.

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.

It's always been tough to imagine the T.U.F.F. Puppy animal gang living next to Danny Phantom.

I feel like L.A. is more of a showcase, and Chicago is a pure comedy scene where you're doing comedy for comedy. You're doing comedy actually for the audience that's there.

Kind of the exhausting thing about doing pure comedy, or something that's broader, is you're kind of a slave to the laugh. If it's not funny, then there's not much point in doing it. The kind of ueber-objective is to make people laugh. You always have to have that in the back of your mind, 'Eh, I've got to figure out a way to make this funny.'

TV is easier: it's all planned out for you, and the audience is there to see a show and they are all pumped up, but when you are in a comedy club, you have to be really funny to win them over. To me, that's more pure.