Andere / Other Arbeit / Work Dann / Then Existierte / Existed Fühlte / Felt Gehen / Go Herr / Mr Irgendein / Any Komödie / Comedy Mögen / Like Nach dem / After Schreiben / Write Setzt / Places Show Sie / You Sketch-Komödie / Sketch Comedy Skizzieren / Sketch Warum / Why Wollen / Want Würde / Would
If you want to be an actor, you need to learn how to act first, even in sketch comedy.
I would have to say that working on 'Warrior' felt more like working on a play than any other film I've ever done.
If you want good sketches, go pick up Sid Caesar. The best of Your Show of Shows. That's the greatest sketch comedy you'll ever see on television.
It's too heart-wrenching doing the solo thing. I throw myself into it and get so excited, and then 2000 people buy it and you're, like, 'Oh. I guess it's not that good after all.'
After I won the Pulitzer, there was this sense of, 'OK, that's enough for you. Now go away.' What I wanted was to keep writing, keep working. But no one would produce anything of mine they didn't think would be as big as 'night, Mother.'
Publishers just want you to write the same book over and over again. But why would I want to do that? It would be like putting on a threadbare dressing-gown day after day.
I would tell anyone who wants something from someone else to feign not wanting it. People are perverse. If you show great affection to them, they'll run the other way.
I like the end of the year to be about something. Especially with younger shows, the network pushes you to make self-contained episodes; they don't like them to be serialized: 'We want this one to be funny for someone who's never watched it and will never watch again.' And I go 'Why would anyone want to do it like that?'
People want to work with somebody who feels shame, who worries about the perceptions of others. Dishonesty is something we don't like in others.
