In comedy, looking back is more important than looking around at your contemporaries because they are too much influenced by the same time period as you are.
I'm not a big fan of comedy roasts because most of the time I find them to be really mean, but once in a while, you'll hear something perfectly worded and well-crafted.
My tutors at drama school commended and criticised my use of comedy in my acting for a long time at drama school. They said I had a tendency to somehow perform the most tragic of scenes in a slightly flippant way.
Dame Edna is that rarest sighting in our time of the absolute comic, an inspired personification of caprice whose comedy answered the primal call to take the audience for a tumble.
So many times I've done a CD, and then the week after I record it, I've got this new tagline that's killer. And it makes the whole bit better. It happens all the time. But that's just the process of comedy.
My introduction to Woody Allen and to Ethan Coen was at the same time. On Broadway, I starred in a play called 'Relatively Speaking,' which was three one-act comedies, one of which was written by Ethan and one of which was by Woody.
You know, dramas are much more expensive to do than say a comedy, so any kind of deficit like that is picked up on when it comes time for them to pick up new shows.
What's fascinating about doing comedy about the referendum is, because it is the first time, it is the most extraordinary atmosphere. You find that if you are making jokes about politicians, it becomes intensely political.
You always draw on your experiences with live audiences to know how to do comedy on films. You're working for a laugh that may or may not come six months later, but you're working in a vacuum at the time you are doing it.
If a movie isn't a hit right out of the gate, they drop it. Which means that the whole mainstream Hollywood product has been skewed toward violence and vulgar teen comedy.
Michael Palin decided to give up on his considerable comedy talents to make those dreadfully tedious travel shows. Have you ever tried to watch one?
I'm still fighting really hard to get any role I get. If it's comedy, I go for the laughs. And if it's drama, I try to tell the truth, and try to play the real stakes of whatever scenario the character's in.
Langford's Lawyer: What is the defense of kidnapping? How can you say, "I was crazy at the time"?
Security Guard: [to Rupert] If your name is not on the list, we cannot let you in. These are the rules and regulations of this place.
For my money, I don't think there's been a better comedy than 'Kung Fu Hustle' in a lot of years. That movie just knocked me over.
I had to trick people into giving me money for my first film. Making a romantic comedy is easier and more expected from a woman than it is to make a drama about a Japanese warrior.
I didn't take anything from anyone - first of all. Second of all, I opened a comedy club with money that I saved over 25 years. I created jobs.
I feel like being a door person was like college in a sense. I could watch comedy on a professional level seven nights a week without paying, and they would pay me a nominal amount of money to be there.
In general in comedy, there are fewer people making a ton of money and a lot more people making a living. For me, the goal is just being able to make exactly the show I wanted to make.
I joined the after-school club, School of Comedy, which progressed wildly, and in quite a Hollywood way. It sounds like 'School of Rock', right up to trying to raise money to pay for a venue in Edinburgh.
The whole idea of genre and categorising films is a critic's construct. For me, I just try and make stories and see where they go, but there's nothing wrong with horror; there's nothing wrong with romantic comedies.
