It doesn't hurt my feeling when I get vilified by fundamentalist religious people. I've actually made comedy out of it. I've made light of that.
I don't like to be entertaining. I don't like the feeling of being entertaining. If there was a musical or a comedy that was not just for entertainment but was rooted in something I could relate to on a real level, then I think I would do it.
I always try to keep in mind that while the characters in a farce may find themselves in outrageous dilemmas, and may behave in a way that the audience finds amusing, the characters themselves don't have the consolation of knowing they're in a comedy...
People have all these preconceptions about me. Whereas if you look at the roles, Henry Hill was the nicest guy in 'Goodfellas!' I was a nice guy too in the comedy 'Heartbreakers.' And I was a really sweet father to Johnny Depp in 'Blow!'
The trouble with a series as it gets older is it can feel like a tradition, and tradition is the enemy of suspense, and it's the enemy of comedy. It's the enemy of everything, really. So you have to shake it up.
I think of myself as a writer with a sense of humour rather than a comedy writer. Happy to tell a story with lots of jokes in it - I wouldn't know how to do jokes without the story.
Reviewers said Ghost Country was rich, astonishing and affecting in the way it blended comedy, magic, and a gritty urban realism in a breathtaking ride along Chicago's mean streets.
It's easier to play a dim character, for me, because I have a natural bent for comedy. It's not intrinsic for me to be crafty, so I would have to go outside for a source of origin. I think of myself as pretty dim.
You know, I've always wanted to do dramas. When I moved to L.A., that was my dream, because I never really grew up watching comedies, although of course I loved 'Dumb & Dumber.'
When I tried to play characters that strayed from who I am it ended in disaster. People didn't expect me in comedies or musicals.
I don't really know, I was thinking about that the other day that there aren't a lot of younger up and comers that I'm that interested in, in the comedy world. Everyone seems to be trying to play it safe.
I acted in high school and studied at the British American Drama Academy in Oxford for one summer. I minored in theater, and I was always acting growing up, but really, I was just more interested in the comedy of it all.
No one set that I ever do is the same. I mean, if I go to a comedy club, and I perform three sets, all three sets are different because anything can happen in between sets.
All I mean is, I'm not the kind of audience comedy directors want at a test screening because I seldom laugh, and if I do, it's not very loud. That doesn't mean I don't like the movie.
I've done for the most part pretty much what I intended - I ended up doing comedy, writing and painting. I've had a ball. And as I get older, I just become an older kid.
I would have to say that I have to concentrate more when I'm doing comedy. There are so many details that make up any character, but developing a character for a dramatic role seems to come more naturally.
I think everyone's different but in comedy, I try to do my scene to make the director and the other actors laugh. If I can make them laugh and we have the same sensibility, then I'm on the right page.
I find that working with friends is always the goal, even if it's just one person. Because the comedy community is kind of insular, it's easy to run into people you've worked with, even if you worked with someone on something for a day, or whatever.
I played an artist in a comedy called 'Rooster.' It was a zany film by Glen Larson, a friend who produced several successful television series including 'Magnum PI.'
The office of drama is to exercise, possibly to exhaust, human emotions. The purpose of comedy is to tickle those emotions into an expression of light relief; of tragedy, to wound them and bring the relief of tears. Disgust and terror are the other p...
As someone who's been doing a lot of classical theater recently, I loved the idea of getting to run around in Steven Alan, and not be in a corset and a wig, and not have a dialect, and get to be in a 90-minute play with no intermission, and get to do...
