Iraq's elite Republican Guard is doing so badly they're changing their name to the Democratic Guard.
New York now leads the world's great cities in the number of people around whom you shouldn't make a sudden move.
Wherever we've travelled in this great land of ours, we've found that people everywhere are about 90% water.
I think comedy has to be an intellectual pursuit. It comes down to logic and analysis. As soon as it becomes emotional, it's not comedy anymore.
The most important thing in comedy - apart from empathy, which I think is important even if disguised - is surprise. I like surprising people with the fact that something's even a joke at all.
I feel that a lot of British comedy is often too bombastic, too obvious, dressing up and shouting and pulling funny faces.
I don't see myself as part of an acting fraternity or a comedy fraternity.
I know it's going to sound cheesy, but I love show business. I love doing comedy, I love that I get to do all this with my friends.
Comedy is a very delicate business, especially comedies that sort of attempt to do things in an honest way and in a very naturalistic way the way that 'No Strings Attached' is.
If you look at the films that I've done generally, you would probably get an idea of what I'm most interested in, and if ever I do something unusual like a science fiction film or an action film or a comedy or something, then that to me feels like a step to the side to do something different.
You cannot begin to imagine the shock I had when I came down on the floor for the first time. First of all, there's this whole thing about playing sitcom comedy. I didn't want to do the sitcom thing, but I didn't know what else to do. I went slowly. We went through the week of rehearsal, then we got on the floor with the cameras, which I'm used to because of my experience in the old days. Then came camera day, with an audience, and it was stunning, enthralling, exciting and chaotic. I had never experienced anything like that before, as an actor. I was part minstrel, part actor.
It's fun for me to couple emotion with comedy. I think it helps comedy. I think a lot of times American comedies don't play on emotion too much.
I was fifteen, or sixteen. I was in high school. I was spending a summer in California with my second cousins. And I wanted to be a director really bad. I was making a lot of 8mm home movies, since I was twelve, making little dramas and comedies with the neighborhood kids.
I love comedy and I hope I never stop doing it.
As a comedian I appreciate every kind of comedy. You decide for yourself what you're going to do.
I always wore cowboy boots and drove a truck, and talked like this. So everywhere I would go in comedy people would say, "Foxworthy, you ain't nothing but a redneck from Georgia!" It kind of became a formula joke.
Working at the magic shop really gave me a sense of comedy because it was all jokes.
In my Comedy Club sets, I just work on what is fresh and try to build that show as long as I can. I don't like to do burnt material on stage. Even though my crowd loves to hear me do old stuff, I don't like to do old stuff.
It's very hard to watch comedy for me, when I'm doing a comedy show, because I either watch a show and I love it, and I'm jealous, or I watch a show and I see all the problems with it, and I'm angry that I watched it.
I never know what my next thing is going to be, and I'm not out there specifically searching for one thing in particular. I'm just looking for something that's new and different. It could be a drama or a comedy, I just want to challenge myself and work with people that inspire me.
I do subscribe to the maxim that generally comedy is like jazz. Either you get it or you don't. You can't learn it and you can't be taught it. I don't think that if you are not a funny person, you can fake it.
The more you progress, the more you learn. I try to pay attention to ticket counts, draws, guarantees and bonuses. I look at my deals closely these days and try to come up with other projects and ideas, since this business [comedy] is about creating content.
I don't want to be a facilitator for other funny people. It doesn't seem smart for me to be in a comedy and not be funny. My spirit can't take it.
I feel so confident and awesome and sexy when I'm with people who are older than me, and I've always been surrounded by people who are older than me. But to be vital in comedy, you have to exist in a world that's dominated by young people.
A really good stand-up comic is a poet; it's about the use of language. It can be really poetic. And I like politically conscious comedy.
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