If you play Mark Twain and he's not funny, you are definitely not playing Mark Twain. That was the biggest challenge, in some ways. Writing and performing jokes that can come out of that brilliant delivery system he constructed: the friendly, avuncular truth-teller.
Like Toy Story, the joke is all about exploring the secret world of these various everyday objects.
My grandfather used to say 'Eat the biggest crabs first, that way you're always eating the biggest crabs.' In making a TV show, that means if you have a big funny or smart idea for an episode or a scene or a joke, go for it. Don't save it for another season or another episode, because you may not have the right time again. It's good advice for television, but truly stellar advice for eating crabs.
At the shock of a joke, everything disappears but the present moment.
My daddy. He's so funny! My whole family jokes around a lot.
I think my sense of humor is really dark and super twisted and stuff like that. It's like, "Is this a funny joke for real? Or am I just rich?" See? That was funny.
I like trying jokes and seeing the response, and if I end up doing it in my act, it won't be 140 characters. Twitter is helpful that way to me. It's like a message in a bottle. But a lot of times I think I tweet the stuff I would like to say to teenage me.
I did get good enough to get on HBO's Young Comedians Special, but I certainly wasn't the person who got launched off of HBO's Young Comedians Special. That would be Ray Romano that year. I had some semi-intelligent jokes, but when people would see me, they would think, "Oh, that's a good writer." No one would ever have said, "Oh, that's a good performer."
I loved the idea that I could write a joke and someone else would have to take the risk of performing it.
It was always the most fun thing in the world to think of a joke area and talk about it with someone like Jim Carrey, and then he would get on stage fearlessly and tear the house down. That's something I always enjoyed. It also allowed me to not be terrified.
Adrienne [ Shelly] had 100 per cent control over this movie [ Waitress] as a director. She didn't just write it, direct it and act in it, she was the creative force behind everything, from the jokes down to the expressions.
I still think that, hopefully, you're not ahead of the jokes, and I think that has value. There is a punchline and it's pointed - and, again, whether you think it's funny or not, that's subjective.
George Lowe was the one who opened the mail, and George started laughing uproariously and I looked up at him in astonishment and said, "What's so funny?" And he said, "You've been given a title", and I said, "Ha, ha, big joke." I didn't believe him but, sure enough, in this letter it indicated that the Queen had given me a title.
Even where the game is today, cats don't really focus on necessarily what it is that you're saying so when people say, "Oh, you can't rap," I play into the joke. That's why I'll challenge anybody; anybody rapping, let's go just because I know what the art form is and even when you see these battle rappers in here, they're so skillful. It's actually a skill.
I remember after I dated this white man, nobody said anything but there was a couple of men in my family that joked after that. 'Oh yeah, we had a party when y'all broke up. Hee hee hee.' And, you know, they laughed, and it was like light and a joke. But, you know, that's real. That was real and they let me know. And, it's almost acceptable within our culture to be prejudiced toward whites because of our history. This country is loaded with racism .
The worst was I had little control in terms of smoothing out my questions and making myself look good the way I could in print. All the ums and uhs and rambling and apologies and hyenalike laughter at something that really isn't funny. You know when an artist will crack a joke, and you're like, "That's so hilarious," like, the fawning laughter that you can at least cut when it's print? It's just all out there, and it's really humiliating.
There's not swelling music and emotional scenes in life, and there's not long pauses when you tell a joke for everybody to laugh. That's not how it goes. Life just sort of happens to you.
You don't see a wonderful shot in a comedy. Why? Because they don't want to distract you from what matters, which is the joke. It has to be funny, so usually all the things in the background don't matter.
Comedy is all about the joke. Comedies usually don't do anything fancy with the camera [or] the lighting. It doesn't matter. It should never be fancy.
I used to joke about this but I've recently realized that I really believe it: I spent many years training myself to write very slowly for pretty good money. So the idea of writing really quickly for free offends me.
I think if the joke is in good taste - it's a good joke.
If there's an intelligence behind the joke - - it's a good joke.
The movie studios, they only like to make - I make a joke, but it's true - if the movie has the word "man" and a number in the title, they'll make it. If it doesn't have that, it's an R-rated raunchy comedy, and that's it. Any other movie that you're going to make is going to be an independent one. So for filmmakers who want to do something other than "man" and a number, it's either independent films or television, which is like the place for real creative filmmakers to go.
Women are not children. We are not fragile little birds who can't cope with jokes, works of art, or controversial speakers.
Nobody sold prints then and prices didn't mean anything. In terms of earning your living, it was a joke.
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