D. H. Lawrence Quotes

If you do television, and it's great, it's the best job there is. Every week it's another opportunity to really make that work and figure out how to make it work better. I love that it's like theater too, and the audience, and it's so short, like twenty minutes... It's like a Haiku or something.

I think stories get better the more people try to amuse themselves.

I want to entertain people, whether it be with a comedy, a drama or a movie. An idea's an idea.

It's such a gift when you know who you're writing for and you know that that actor is capable of so much that you can relax a bit.

I'm a yarn teller. My job is to engage you as much as I can and as often as I can.

I really like doing puppetry; I'm not sure if it will find its way into 'Big Bang,' but it always does seem to find its way into a lot of things.

Late night is no different than making a film, really, except that it's faster, and if you do a crap one, you can do a better one tomorrow. Writing a novel and doing stand-up - that stuff is very similar.

If you are opening a play, a play that's really about something, a play that's really about ideas, you have to find a way to sell that play.

I just want to keep people entertained.

I like performing. I like partnering with an audience.

The way I like to work is to attach personal experiences to what I'm doing, so it helps tremendously if I can write my own play under what the writer has written.

I'm an entertainer, so in whatever form I entertain... The thing about being a rapper is that you have more control over your form, whereas with acting you have to compromise a lot.

My only responsibility as a playwright and a storyteller is to give you the time of your life in the theatre. I just happen to think that with Hamilton's story, sticking close to the facts helps me. All the most interesting things in the show happened.

I think there's something really freeing about improv, that it's a collective, creative, in-the-moment piece. That's really exciting and really frustrating, because it's there and gone. There's an amazing interaction with the audience that happens because they are very much another scene partner.

I'm motivated by entertaining people.

I would play my Dungeons and Dragons songs and watch people's eyes glaze over, and then I would start joking around between songs, and all of a sudden people were lighting up and engaging.

You can't be a playwright without believing there's an audience for adventurous work.

The instinct to impersonate produces the actor; the desire to provide pleasure by impersonations produces the playwright; the desire to provide this pleasure with adequate characterization and dialogue memorable in itself produces dramatic literature.

I do feel it's important to entertain people. I try to.

Stand-up comedy is an art form and it dies unless you expand it.

As a playwright, you are a torturer of actors and of the audience as well. You inflict things on people.

You need the audience to go on the ride with you. You can't just isolate them.

I found out a long time ago that if I didn't have a good story for a song, I could just make one up! Now it seems over half the stories in my show are made up. The funny thing is, those seem to be the ones that resonate the most with the audiences.

I want to give the audience a hint of a scene. No more than that. Give them too much and they won't contribute anything themselves. Give them just a suggestion and you get them working with you. That's what gives the theater meaning: when it becomes a social act.

'Cheers' was a good first step because I got to write my own material.