D'Arcy Carden Quotes

I like big casts. The experience of working together, that human contact - those are my roots, professionally.

When I graduated, I was director of my school's sketch comedy group, and I knew that I wanted to be writing and performing my own sketch comedy. It kind of made me want to do my own one-person sketch group.

I wanted to be like 'Kids in the Hall.'

I did a lot of standup from ages 19 to 24 but then stopped to focus on sketch with Broken Lizard.

The goal is doing stand-up on TV somewhere, which is what I'm working on. Something on latenight or Comedy Central, but - I dunno, something. It could happen, it could not happen.

I wrote for this sketch group called Olde English for about six years and we made a movie together, but we sort of stopped making sketches.

I don't mind sharing my success with a super star or an entire ensemble cast. I have no qualms being part of a film that has super stars.

I made my acting debut in 1996.

The cast of 'The Big C' is such an amazing group of people. They're so joyful and just open their arms to you as an actor.

I never really saw 'The Kids in the Hall' until after we started 'The State.'

It's been great to be on television since I was young; I always knew I wanted this. I didn't even like regular school, so I don't think I'm missing out on anything.

I worked for the Comedy Store as an employee trying to become a paid regular. I had this dream of achieving a half hour special on TV.

I like to live for today and what's coming up tomorrow, and I love what we're doing with Hellyeah. And that's my focus, and that's my goal, man.

I think we've faced all the typical challenges that young filmmakers go through over the years - time, money, negativity - but it's a lot easier to manage when you can learn from and laugh about all those mistakes and anxieties with your best pal.

Eight months after graduating from Ryerson, there I was in West Berlin working with Marlene Dietrich and David Bowie and Kim Novak.

I was already 50 when I started in television.

For me it is important to mould myself as the director wants. That's my challenge as an actor.

When you're trying to enter something as intimidating as comedy, starting out with a support network of likeminded people is a powerful thing. It was natural we'd end up working together because we went through those first petrifying moments together. We created gigs for each other, slapped each other on the back, and protected each other.

Working with Thalia was a dream come true as a longtime fan of her work.

When I seen myself on TV, it made me realize, 'You're doing what you really wanted to do. You're living out your dreams.'

Band on the Run' was pretty significant for me because two of the guys didn't turn up to record it. It was just me and Paul. The two of us had to go into the studio and make that album ourselves. With Linda of course.

Right out of school, I did this show called 'Natasha, Pierre & the Great Comet of 1812.' It is based on a classical text with new music - not necessarily confined by a certain genre. It was a diverse, interesting group of musicians, actors, nonactors, and singers all creating this thing that is bigger than all of us.

At the age of 16, I ran from my house, did odd jobs till l landed work on television and then in film industry. My first job was at an STD booth in Delhi. Then I came to Mumbai, where I distributed DVDs, and that is when I got my first TV show offer, 'Left Right Left.' I have never planned things in my career.

The plan was just to make great art, and working with Donald Glover, who is such a renaissance man, we've been working together for ten years, and he is always pushing the envelope in a way - like, whenever we work together, I have no idea what it is going to turn out to be.

Co-directing is not possible with my brother. We have very different opinions.