Quotes About Comedy

A comedian's body is funny as well as his mind being funny, his whole personage is funny.

I've exercised with women so thin, buzzards followed them to their cars.

Both middle-aged people and young people enjoy a play about young lovers; but only middle-aged people will tolerate a play about middle-aged lovers; young people will not come to see such a play, because, for them, middle-aged lovers are a joke—not a very funny one.

Humor is the politeness of despair.

Humor is healing.

Lawrence laughed at that one like it was a Richard Pryor special.

You look like Donald Trump being sprayed with mace." "That's the poo-poo face. I

Shakespeare will not allow Falstaff to die upon stage. We see and hear the deaths of Hamlet, Cleopatra, Antony, Othello, and Lear. Iago is led away to die silently under torture. Macbeth dies offstage but he goes down fighting. Falstaff dies singing the Twenty-third Psalm, smiling upon his fingertips, playing with flowers, and crying aloud to God three or four times. That sounds more like pain than prayer. We do not want Sir John Falstaff to die. And of course he does not. He is life itself.

Wild with laughter, Twelfth Night is nevertheless almost always on the edge of violence.

Don't be looking for trifles, Señor Don Quixote, or expect things to be impossibly perfect. Are not a thousand comedies performed almost every day that are full of inaccuracies and absurdities, yet they run their course and are received not only with applause but with admiration and all the rest?

To remember jokes, many professional comedians Link a Key Word or thought of one joke to the Key Word of the next, and so on. The comedian knows the jokes; he simply needs reminders of the jokes and their sequence.

It seems to me that very sad things always contain an element of the comical

The genres were Romance in Michelet, Comedy in Ranke, Tragedy in Tocqueville, and Satire in Burckhardt.

The most fun I ever have is sitting in with Rick writing, and we laugh at our own jokes.

My sister Kim is like Lucille Ball. She's magical in terms of her performance and her writing.

I started writing sketches when I was 13. I liked Vic Reeves, Fry and Laurie, and Paul Merton, and I thought you could just send sketches to the BBC, and they'd go, 'Great. We'll put these on telly.' But I gradually realised that you either had to go to university and join a club, or do standup.

And I've always loved commercials. I like working out how to organically weave a brand's message into the writing process. It's like an improv show, where comics ask the audience to throw out a word and a skit is built around it.

I was fascinated with the writing process and seeing the evolution of a sketch and how it would change up to the minute before it went on the air.

As a comic, I think I'm very verbally oriented about a lot of the stuff that I've written or thought up and how I say it.

I made my living in comedy, but I'm not a silly person. I've got all these sides to me. Even in my movies that I've written myself, the characters sometimes border on great anger or nutsiness or other kinds of behavior. I'm not just doing fart jokes for two hours.

You learn, even at 'S.N.L.,' that the funniest scripts a lot of the time were written with the actor, because they know what makes people laugh. It's always going to be better if they own it.

I loved doing 'The Family' with Eunice and Mama. They were very interesting because there were no jokes written into those sketches. It was all character-driven. And sometimes it got a little heavy.

One thing that I love about 'Difficult People' is that Julie Klausner and our showrunner, Scott King, have written the lead character I play as a fully formed man.

I'm difficult to cast. In comedy, if there's a female character, usually written by a bloke, she's either the ditsy good-looking one, or the sexually aggressive one. I never fit into those.