Paulo Costanzo Quotes

I always wanted it to be multi-cam from the beginning. In the first seeds of the idea, I wanted a live audience, multi-cam show. That was very important for me.

You know, it's nice on a sitcom to have an audience there, but there's still a wall of cameras between you and them.

What's so amazing about 'All in the Family' is sometimes an entire act was one camera shot. It was all about characters.

I like anything with a live audience. I love sitcom work. I hope it comes back in fashion because I really love it. I love single-camera work, too, but in a different way than that live-audience thing, which is really exciting.

I do like working on television but I prefer film. I just want to work mainly but the pace on a movie is slower and you get to form more of a family. There is more time to work with whereas TV is faster paced.

Having gotten TV shows on the air, that's so much less work that trying to get the 'Veronica Mars' movie made.

When I did 'Scrubs', we were able to always do one as scripted, and then we got to play a little bit and do some stuff. I thought that was pretty loose, but then coming on 'Happy Endings,' it's even looser.

I would love to do a television show in New York City.

To me, a multi-cam is just like the feeling you get from the audience.

I've never seen a schedule where you just go in two hours almost every day of the week and then all day on one day. Then you shoot it at night with an audience and you're out of there.

I'm very lucky to be on 'Melissa and Joey' because it's a multi-cam sitcom, and it was a nice transition from theatre because it's taped in front of a live audience.

There's no job like 'SNL.' There's no other job you go to where you're like, 'Oh, this is like that live, late-night sketch variety-musical show that shoots in, whatever it is, 10,000 feet of sound stage.' There's nothing like it.

TV is designed a certain way where you have three, four days on stage and three or four days out. You're basically making a feature every seven days. You have to shoot an hour's worth.

I think multicamera comedy is a much-maligned American art form.

I really enjoyed multicamera comedy. You film in front of a live audience, and it's kind of the best of both worlds. It's like doing a one-act play every week, but if you screw your lines up, you get to do it over.

TV is obviously so different from film: because it's a never-ending process, it keeps going; you keep receiving new pages.

In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason - the director cut according to the script. So, if you ad libbed, you'd be off mike and off camera.

I'd say working on television is much, much tougher than films. But television has a great connect with a live audience, which is a refreshing change for us actors.

On TV, you have wardrobe fittings, you have four cameras on you at all times, and you're worried about your angles and your lighting and your shots.

With a sitcom, everyday you do a run through, and people are judging you, and the scripts are being changed nightly, nightly, nightly.

Theater is a lot more interactive, more of a cohesive unit. With television, it can be a different director every episode.

In my experience in series TV, if you have a good crew and a great cast, it's going to be a great group - similar to the theater where it's a bunch of people who are really talented and go to work each day and challenge each other, and if you are lucky enough to get a hit then it's five or six or seven years of this kind of work.

Film, schmilm. I'm telling you, television is so much harder.

My experience tells me that any time you hear people laughing on a sitcom, it's the writers who happen to be closest to the microphones - not the audience.

Sometimes in theater, they'll talk about your character a lot before you enter, but that rarely happens in television.