Quotes About Comedy

I've signed babies' arms. I wanted to pull a 'Ricky Bobby' and sign a baby's forehead.

I think 'Mean Girls' was a kind of significant movie. It was a very successful comedy, and it was also before 'Bridesmaids,' and it really launched some of today's biggest women in comedy.

For the writers I have worked with and for me, the relationship between the personal comedy of daily life and the economic context in which that life happens has always been very significant.

When I was in college, I would go out, and I would go to these open mic nights at Stitches and Nick's Comedy Stop, so I was going to classes during the day, and then at night, I would be signing up on the lists.

Some comics have long routines to get them in the mood - I just prefer to sit down, write out the same jokes in a different order and then have a little prayer that I won't be met by silence.

Comedy club audiences pay up to $25 per person and another fistful of cash to cover a two-drink minimum, so when they don't like something, they let you know - with silence.

The greatest comedian I've ever seen is Jack Benny. He wasn't afraid of the silences.

To listen to your own silence is the key to comedy.

Making people laugh is easy for me. I'm quite proud of that. But I'm prouder of silencing an audience for a minute because they're thinking about something.

When I was a kid, I loved all the silent comedians - Buster Keaton, Laurel and Hardy, Chaplin. And I used to imitate them. I'd go to see a Buster Keaton movie and come home and try things out I'd seen. I learned to do pratfalls when I was very young.

I've always loved silent movies. I recently saw 'Tilly's Punctured Romance' at the Academy, which is the first comedy made with Charlie Chaplin in 1914, and I sat there, and I couldn't believe that the entire audience of 2,000 people were laughing that hard from a movie made in 1914 - and there were no words; it was all faces.

In all the classic comedies of the old silent movies, the pratfall always got the biggest lauch. Even more than a pie in the face.

I have done 'Gutar-Gu,' which was a silent comedy show.

I used to watch the 'Jackie Gleason Show' and Phil Silvers, those early TV things. And a lot of them were patterned on the silent comedies of the '20s.

Learning to be your natural self in front of five cameras and a silent studio takes time. Trying to be funny under duress is probably a lot like trying to play golf relaxed under pressure.

'Gutur Gu' is a silent comedy, which I had never done. I wanted to do something out of the box. It's exciting, tough, and fun. Dialogues are very important for actors, and to emote without them took some getting used to. It's giving me scope to learn a lot.

The hardest I've ever laughed in a cinema was at 'Silent Movie' by Mel Brooks. I was 12-ish and I actually fell out of my seat. I saw it 10 years later hoping for the same hilarity but it didn't happen. I'm not sure if that's because of me or the film.

I'm a 'Bridesmaids' type of girl. I love silliness. That's who I am at heart, and I know I can do it. If my career path takes me elsewhere, that's great. But comedy is my forte.

Describing comic sensibility is near impossible. It's sort of an abstract silliness, that sometimes the joke isn't the star.

Comedy and silliness has a place in wrestling, but there's still gotta be some level of believability.

I feel like with 'Chuck,' because it was a comedy-based show, it was more cartoon-ish. It was just more playful. We had a lot more fun with it. There was a lot of silliness in there. There were serious moments, as well, and there was a lot of heart in that show, but its baseline was comedy.

It's nice if people can finally loosen up a little bit and just go out laugh at silliness. I mean, people take themselves way too seriously sometimes.

One of the things I think you need to be a good emcee is silliness. And I'm basically a silly guy.

When people write comedy from neutrality, it just gets kind of silly.