Quotes About Sketches

I think what is nice about 'Elf,' and why it doesn't play as one long sketch, is that the character actually grows up during the course of the film. It's not just a character that you can keep checking in on and keep doing sketches about. It's a story. I'm pretty proud of how we told it.

Preliminary drawings or sketches in oil or pastel often have an immediacy and emotional appeal far greater than the final canvas.

For a long time I wanted to draw, but I could never get the proportions right. My still life sketches were the artistic equivalent of someone who has misjudged the space constraints of a postcard, the handwriting shrinking uncomfortably at the bottom.

There are lots of actors, and you need a way to stand out. Writing comedy sketches was a way of doing that.

Then we tried to come up with ideas for the sketches, and then, when we actually shot the movie, we really just sat down - never previewed the movie - we just really winged it.

I love telling stories. I love the intimacy between the writer and reader. When you write sketches it's over in two minutes. When you write a book the characters have to have a bit of emotional depth.

I wrote comedy sketches in college.

I started writing sketches with Dennis Kelly, who I ended up writing 'Pulling' with. We entered a BBC competition and did quite well, then started writing bits for other people's shows. You wheedle your way in, write pilots and eventually you end up writing a sitcom.

All the drawings and sketches and clothes of Yves Saint Laurent in the '70s were so colorful, so bright.

If you're going to be part of a nationally televised show that airs live and do sketches that haven't even been brainstormed a week earlier, you really can't be afraid to fail.

I definitely knew I wanted to be an actor in high school. I was doing plays and musicals, and I loved 'Saturday Night Live' and thought that was what I wanted to do - funny sketches and comedies. So I knew then, but I didn't know how to go about it, but I found my way.

At any comic book convention in America, you'll find aspiring cartoonists with dozens of complex plot ideas and armloads of character sketches. Only a small percentage ever move from those ideas and sketches to a finished book.

I love doing sketches, but I don't relish being by myself. That's not something I'm used to doing.

I've always felt, even with sketches, that if you don't care about these people, then it doesn't matter.

As far as my sketches, I've always loved 'What's Up With That.' It's just a whole lot of fun, and I love 'Black Jeopardy,' too. Any kind of host capacity, I'm usually pretty good at.

My first improv was Second City in Chicago. Before that, I worked at - with a partner, doing comedy sketches.

Some of these sketches were done at the very beginning of the Pirates project, when I was trying to find a direction for myself. That was the early sixties... maybe 61 or 62.

Dysfunctional co-dependent relationships always appeal to me. I don't know exactly how it started. I start writing sketches of characters and little scene-lets, and then it builds.

We do long-form-style improv. Our focus was characters and telling a long arc story over about an hour and a half. It was closer to a one-act play than one-off sketches.

On 'Saturday Night Live,' I never really wrote. You know, I would just - I would let the writers cast me into the show. So my strength - and I put all my energies into performance. I just couldn't deal with the rejection, you know, getting your sketches cut, and it was hard for me.

Color is definitely an important factor for me during all phases of producing a cover. I always start out with a loose idea of what I want to see when I'm doing my initial sketches. This choice can be informed by anything, but I usually tend to lean toward more simple color schemes... something with a very obvious push between warms and cools.

I was always doodling house sketches.

I think the Mama people remember is from 'Mama's Family.' She really turned into a pretty cool character. The sketches from the 'Burnett' show, if people are old enough to remember, were written by writers who all hated their mothers.

I've written close to 20 screenplays and 100 sketches - I know exactly how to do them. They're judged by set criteria that I know.