After doing Johnny I wanted to just do something, I wouldn't say innocent, but to not have any care in the world. Lots of setups and horrible happenings but its funny.
I think that's the beauty of the current setup, is that Legends is meant to be a bit of a revolving door.
When I'm writing columns, it's - all I'm thinking about is jokes, joke, joke, joke, setup, punch line, joke, joke, joke. And I really don't care where it goes.
The way I perform or the setup is always same - just me and a microphone and the text - and they usually have some relation of how physical that stack becomes. When I'm editing it together, the density of the papers is an indicator to be like, "You need to stop."
There's only one way to prep, so far as I know. You have your script, you hire the people you want, you find your locations and your setups, everybody shows up and you shoot the film.
For me, most comedy scripts fail in the mechanical playing-out of the setup. They'll pay lip service to a moral lesson or a psychological progression.
I'm a quite erratic person: From setups to actually when I'm doing a track, it's just turning and switching and changing all the time.
When someone new comes on and has their first nude scene - and even if it's not full nudity - it's always a weird, awkward setup. We have these famous merkins which are sort of toupees for your delicate areas to make it look like you're naked but cover you up a little bit. But we joke around a little bit with the newbies who are trying that stuff on for the first time.
With the Road King amp, you're able to switch power tubes and speakers and do all these different things. And I didn't want to have five different heads in my rack. And there's something about, when you do the type of setup that I have, unless you have a dedicated amp to a dedicated speaker and you're actually switching, you have to use the same power section of the main head that you're using.
It's often hard to determine, especially in early drafts, whether or not a story has a bona fide complication. Remember this: A complication must either illuminate, thwart, or alter what the character wants. A good complication puts emotional pressure on a character, promoting that character not only to act, but to act with purpose.If the circumstance does none of these things, then it's not a complication at all - it's a situation. This situation, or setup, might be interesting or even astonishing, but it gives the story no point of departure.
I tried to make the punchline as close to the setup as I could. And I thought that was the perfect thing. If I could make the setup and the punchline identical to each other, I would create a different kind of joke.
I was very vocal about how I wanted to be portrayed on the show, and how I wanted the stage setup to be.
I didn't change much in terms of my setup or how I was making my music. It's evolved to this point where I think people look at it as one big traveling party.
If you are a Jewish Israeli, you go to Gaza, you get the villa of your life, the villa which you did not dream of ever getting in Israel, a beautiful two-story villa with green meadows and so on, practically for nothing. Then you put up hothouses of tomatoes or flowers; you take the very Arabs from whom you grabbed this land and employ them as laborers in your hothouses. Israeli law does not apply in Gaza: There is no minimum wage, no annual vacation, no compensation for dismissal - so you get the work very, very cheap. It is a wonderful setup economically.
If there'd been a better-balanced society, where there were other ways of making a decent living, I think it might have been different. That's not the way this setup work.
Your sexual attributes are simply chemistry and setups within your DNA. They are given by agreement as gifts for you to experience in this life.
Saw myself naked in front of a mirror a couple days ago - that's not the joke, that's what we called the setup. I saw myself naked, and I said, 'Holy cow, I'm 'The White Man.' I've heard a lot of bad things about you, cracka.
A setback is nothing but a setup for a comeback.
Always get to the set or the location early, so that you can be all alone and draw your inspiration for the blocking and the setups in private and quiet.
I was down in Tampa and it just wasn't a good setup for me, all things considered. But it also gave me the opportunity to get out of there and kind of start over. The Giants, fortunately for me, gave me the opportunity, another shot. I'm just trying to make the most of it.
I think acting is a job where you're always unemployed. You're always looking for the next job, so I assume that it's like other jobs that are with that same kind of setup.
I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.
It goes without saying that it is no good having a perfect setup, perfect grip and perfect golf swing if the whole thing is misaligned. It sounds obvious but many players simply do not spend enough time getting themselves on target.
I think we're the only jokeless show on television. I mean really, we have no setups and no punch lines. It's not a joke show. There are funny lines and funny moments but again the comedy is born of the human experience and awkward pauses are a great part of what it is to be human.
In comedy, beware the split focus. The audience should focus on the face of the actor. The audience must see the setup. If there is action elsewhere on the stage, the comic line can be lost.
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