Thomas Middleditch Quotes

We took up the offer with the BBC, and that was Monty Python's Flying Circus. I didn't have to submit my ideas to the group. I used to turn up on the days we recorded with a can of film under my arm, and in it went.

I really, really like 'Eastbound & Down.' It's one of the few things that makes me laugh.

At the beginning of each week at 'Saturday Night Live,' we have a full cast meeting where Lorne Michaels introduces the upcoming host.

I never really thought I had much to add to the conversation that was occurring at 'MADtv.' I didn't know what I would do on the show. But I showed up, and I was surprised - it was fun to work on. Everybody there was really nice, and they seemed to be interested in my contributions.

It was a joy to be a part of the team that created Round The Horne. I was involved with the show at a time of my life when I was very happy., and that happiness overflowed into the scripts.

It seems that, culturally, young people function more in groups. They know each other through digital media. All the young comedy people who work in TV are really used to working at the table with lots of writers around. They're comfortable in the group; they don't assert their own egos over everyone else.

Gabriel Diani has been my friend and collaborator for 14 years. He and Etta Devine are two of my favorite people and two of my favorite creative minds.

When you talk about a character on a situation comedy, it's not just the actor. It's the writers, too.

Writing 'Father Ted' with Arthur Mathews was like being hooked up to a drip full of endorphins.

A little of the sketch character Pootie Tang went a long way on HBO's now late, probably soon to be lamented 'Chris Rock Show.' So it's surprising how much fun the character's film debut, 'Pootie Tang,' is.

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.

The Daily Show writers are incredibly smart and very well plugged-in but occasionally they would need me for certain specific things, and I'd be like, 'Yeah, I completely know how to do that; I can solve that problem,and then I'd be like, 'Mom?

He [Stuart Immonen] and I have known each other over email for 18, 19 years or something, so to finally work with him is like kissing the girl that you always wanted to kiss.

Harry [ Hannigan] and Chris [Ellis] are sitting there while we're doing [ Fresh Hell], and Chris is directing, obviously, but if we start fooling around a little bit, Harry comes in, and he's got some addition that makes it even funnier. But we start with a complete script.

I was in a two-person show [with Oliver Ralli] called the Midwesterners where we wrote all of our own stuff and we traveled the country with it. That's what eventually led me to L.A.

I did get good enough to get on HBO's Young Comedians Special, but I certainly wasn't the person who got launched off of HBO's Young Comedians Special. That would be Ray Romano that year. I had some semi-intelligent jokes, but when people would see me, they would think, "Oh, that's a good writer." No one would ever have said, "Oh, that's a good performer."

There’s a need to perfect things in a writers’ room, and that can take a lot of fun out of a show sometimes. It’s a struggle. It depends on your personality. Some people love working with a writing staff. I had a great writing staff on Lucky Louie, but it sometimes felt like Congress or something.

Working on The Daily Show, I co-produced all those field segments, and that's another huge thing.I probably did more than 100 field segments.

I think in most cases, if you're with good people, comedy creation happens faster in collaboration. That's how I can tell if it's a good collaboration: If it's faster than me by myself, then it works. If it's slower than me by myself, then I get out of the room.

I always feel when you work with an artist and whenever I work with a really good photographer, I try to give him or her their own artistic freedom because that's the way you get the best work or at least the most interesting work.

I just wanted to be a good comic and had no sense of show business, but at some point you want the opportunity to write a show about your life.

It's great working with directors and with somebody else's vision.

Doing actual comedic material is just about the most joyful endeavor ever. That's the truth. The only time it's not funny is when business gets in the way.

Every creative person can draft into service those around them who exhibit the right mixture of intelligence, insight, and grace.

He convinced me - Fred Freeman - to go to Hollywood and we went to Hollywood to write sitcoms. Joey Bishop actually paid my way to Hollywood.