Comedy is much more difficult than tragedy-and a much better training, I think. It's much easier to make people cry than to make them laugh.
When I was at school at Paris, I had special lessons from Mademoiselle Antoine, an actress at the Comedie Francaise, and I was taken to every sort of play. I felt very grand.
I could keep trying to do the same kind of comedies. You know how it's going to go, and you can get an audience with it, but then I feel like a hamster on a wheel.
You don't really have to say much when your headline is 'Drag Queen Robs Burger King.' Sometimes comedy writes itself.
I think it's because my comedy is in your face, and it comes from a place that's real.
'Community' is a comedy show, and one of the characters happens to be a Christian. I do think they have been very careful to make sure everyone is the butt of the joke for various reasons.
When it comes to comedy, it might be interesting to know why an airplane works, but really? Maybe it's better not to know why certain things work. Just fly the thing, and if nothing falls apart, you'll be fine.
I didn't want to write sketch comedy after 'Mr. Show.' I felt like, after 'Mr. Show', why would you want to go work at any of the other places that existed then?
I actually very rarely see comedy myself, and although I admire the work of some comics, it does come from all over, so I'll get a charge out of some fiction writers and poets.
I would like to work with Todd Phillips of 'The Hangover'. I would like to do more comedies; it would be a lot of fun. No actors in particular. I don't consciously seek out things to do.
You just make sure you don't screw it up. It's going to work as long as you don't mess it up. Hopefully you have plenty of those moments in a big comedy.
To be honest, I am somebody that, as long as I have a character, it doesn't really matter if it's comedy or drama - I think timing is important in either. But for me, it's all about having a character to work on.
There is so much cross-pollination between the U.S. and Britain in terms of comedians. British TV comedies work well in the U.S. American stand-ups make it big in Britain.
A lot of people think I'm difficult to work with. It's not like I really want to do that much stuff, so it doesn't really matter. I guess I'm somewhat difficult when it comes to comedy.
I always wanted to do a comedy, but I wanted to pick the right one. But it came down to working with Steve Carell. I've wanted to work with him since I met him years ago as a kid.
For me to make a living acting silly for as long as I can get away with it, I think the most viable way to make that happen is to evolve into more traditional comedy. I've really been putting in the work.
I think it helps in any comedy room for a woman to have very strong, respected convictions, because then it opens the door up a little bit for other women to have that.
There are no subtleties in a war zone. I think that's why comedy does so well there. It goes right for the gut. So those punch lines start penetrating the bullet-proof vests.
Our sense of what American English is has upended our relationship to articulateness, our approach to writing, and how (and whether) we impart it to the young, our interest in poetry, and our conception of what it is, and even our response to music a...
And so a pattern develops: wake, work cry. sleep. I can't even escape him in my dreams. Gray burning eyes, his lost look, his hair burnished and bright and bright all haunt me. And the music... so much music-I cannot bear to hear any music. I am care...
The world is filled with people who are no longer needed—and who try to make slaves of all of us—and they have their music and we have ours. Theirs, the wasted songs of a superstitious nightmare—and without their musical and ideological miscar-...
