Lela Loren Quotes

My background is all comedy. I've been doing improv since I was 17. It's funny, because when I meet people, I'm known as this guy who will punch you in the face or throw you out a window, when I also have a background in comedy.

Twitter is the most amazing medium for a comedy writer. I can't get in every idea I want on the show no matter how hard I try to bully the other writers, so it's a way of me getting out other comic ideas and immediately getting feedback.

Almost every college playwright or sketch or improv comedian was sort of aware of Christopher Durang - even kids in high school. His short plays were so accessible to younger people and I think that was inspirational to me.

I'm a bug on acting, which distinguishes Second City from a lot of other revues. It comes from the character, the behavior, and not from the jokes. I don't think jokes are funny. Humor comes out of character and out of situations the character is in.

I started writing sketches with Dennis Kelly, who I ended up writing 'Pulling' with. We entered a BBC competition and did quite well, then started writing bits for other people's shows. You wheedle your way in, write pilots and eventually you end up writing a sitcom.

The trick is always to write in pairs because if at least two people find it funny, you've immediately halved the odds of it not being funny.

If it weren't for The Groundlings, I would never be on Saturday Night Live.

Anything where I get to write a lot of jokes and have a lot of creative control - that's all I want.

I really like writing television, and I like the collaborative writers room feeling. It's ten people, and you're together every day laughing your heads off.

I listened to this interview once with Jerry Seinfeld that really influenced my comedy and all of my writing, which is that when you're starting out in comedy, it's the audience that tells you what's funny about you. And you need to listen to that and make a note of that.

You learn, even at 'S.N.L.,' that the funniest scripts a lot of the time were written with the actor, because they know what makes people laugh. It's always going to be better if they own it.

I write in reverse: Rather than come up with a narrative and write jokes for that narrative, I write jokes independently of the narrative, then I try to fit them in.

I think there are some writers - like, if you read Kerouac, I think you probably need to take a little break before you sit down to the typewriter because he's the type of writer whose voice infects you.

The truth of it is that people are not going to want to go to improvisational theater if it's not funny. You can succeed in doing all the things you're supposed to do - be truthful to scene - and if it's not funny, I'm telling you that no one's gonna care.

My first improv was Second City in Chicago. Before that, I worked at - with a partner, doing comedy sketches.

I thought of Second City as just the greatest therapeutic job anybody could ever dream of having.

I've never sat down and written jokes. I wouldn't know how to.

I cannot write in isolation. I write with people around me.

I think writing in a group, even though it can be a challenge - you have to be on your toes all the time - is the way the best comedy gets written. It's very, very collaborative. A lot of comedy writers are definitely introverted nerds.

I've been writing the show with Nigel Coan, the director of 'Luxury Comedy', and Tom Meeten. Three's good. With two, you can lock horns a bit. On your own, you're not sure whether what you've made is any good. I don't know how people write novels. I would go mad.

I moved to New York and went to a performing arts college, but it wasn't until UCB that I started performing on the regular, figuring out how I'm funny, why I'm funny, and how to play with an audience.

How would Jonathan Lethem have obtained such a stellar endorsement for 'The Fortress of Solitude' from Michael Chabon, if not for the years they spent ghostwriting 'MAD' magazine fold-ins together?

'Portlandia' is 100 percent improvised, and I came into this business not knowing anything.

Sometimes when you do a whole script, you hand it off, and it gets rewritten by a bunch of people, and people don't really get that much of a sense of how funny you can be.

And writing comedy and it really taught me how to kind of like craft jokes, it sounds like weird but really focus on crafting jokes and trying to make the writing really sharp. At the same time I did improv comedy in college, and that helped with understanding the performance aspect of comedy, you know, because it's different when you improv something vs. when you write it and they're both kind of part of my process now.