T. R. Knight Quotes

If you want to reach any kind of poignancy or meaning a lot of times, coming from comedy is the best way to get there.

I find Spike Jones' movies to be really very inventive and funny, but they're really sad and touching and really key into the different facets of the human experience.

Different things made 'Cheers' and 'Frasier' special. Both of them, though, were honest. It was the old Shakespeare thing: Hold the mirror up to life.

Since it's based on my parents, it's more emotionally close to me than some of my more surreal plays. And then I like the balance of the comic and the sad. It should play as funny, but you should care about the characters and feel sad for them.

I like to think my sense of humor is sort of smart and dumb at the same time. I like to work on multiple levels - smart and dumb, funny and sad, profound and mundane, cynical and hopeful.

Short fiction is like low relief. And if your story has no humor in it, then you're trying to look at something in the pitch dark. With the light of humor, it throws what you're writing into relief so that you can actually see it.

I always found that drama, really good drama, has a lot of comedy in it.

Was there ever such stuff as great as part of Shakespeare? Only one must not say so! But what think you? - What? - Is there not sad stuff? What? - What?

You can channel a lot within a comic framework, and I think 'The Guard' had a lot going on outside of the comedy, which is satisfying.

I've always loved the writing of Aaron Sorkin. He cleverly intersperses big issues alongside personal relationships.

You know, what I like about 'The Family Tree' is it's a kitchen sink movie; you can't think of anything that it doesn't either throw into the story for conflict or poke fun at or attack, even, so I like it.

I think of everything as comedy, but I don't think of it in terms of sitcom comedy, I think of it in terms of Chekhov comedy. Chekhov called his plays comedies. There's always a mixture of a laugh with sadness. So the plie to the laugh is sadness.

I've always tended to write comedy, but I'd hate to just write some kind of sitcom or a lighthearted series of jokes and slapstick. I wanted to talk about some deeper things within the comedy.

There is a real affection for these human beings on these stage that O'Neill really had. Out of that affection comes a lot of humor, which is unexpected when you think of 'The Iceman Cometh.'

I can't seem to escape comedy. Whenever I sit down and try to write something serious, it just doesn't work.

The book that made me decide to go into Russian literature was 'Anna Karenina,' which I first read in high school. The thing that appealed to me and constituted its Russianness for me was that it was simultaneously incredibly funny and sad.

Very few people took sordid things and made comedies out of them.

I think it helped that 'Fleabag' had such a dramatic arc to it, even though it was disguised as a comedy.

When you're laughing aloud at David Sedaris' every sentence, it's easy to miss the more serious side of what he's up to.

Comedy, I imagine, is harder to do consistently than tragedy, but I like it spiced in the wine of sadness.

Because I was a television writer for many years, I write very conversationally. I put things straight, and with a lot of humor.

There's a lot of comedy in Intermission but it's got this depth. It's not comedy for comedy's sake - it's informed by something else. I like stuff like that.

I think any decent comedy worth its salt has to have heart, otherwise it's just a bunch of jokes. I think people enjoy comedies that have a heart and soul to them.

I think you can tell the human condition better through comedy.

I think that sometimes only comedians can reach the peaks of tragedy.