Christopher McCulloch Quotes

This is one of his most human and most amusing and witty novels. The characters are very Indian. I decided that I wanted to do a comedy, so this was just the right one.

I think one of the few faults in Dickens is that mostly his lead characters are blanks - who is David Copperfield, who is Oliver Twist? And yet he takes such joy in populating the rest of his novels with these fantastic, grotesque people like Pecksmith and so on.

I really like all of the characters in 'The Secret History' by Donna Tartt, especially Camilla, the one girl. I find her fascinating.

I feel like I've come out of this grown up, maybe because I live through the character vicariously and she grows up so much during the course of this story.

Invisible Boy was fun. Everybody else's character, they knew where they were at already as a superhero. But invisible boy's character, you kind of grow up with him within the movie.

I think there's a growing courage among the younger generation of American writers. Because of the more superficial treatment of characters taking place in cinema, they have had to deal with that by digging deeper into who these people are.

When you look at someone like Sacha Baron Cohen, you have to really respect the boundaries he is pushing as Bruno or Borat.

Homer is the nice side of Al Bundy with the same intellect. I really like him and Al Bundy.

In 'Malvolio,' the audience laugh at me, and I use that laughter to crack open the question as to why they are laughing.

Well, it's an adventure story, and a Bildungsroman, of course, but there was also the intention to describe a culture that had been seen in rather narrow terms.

'SCTV' was the concept of a group ensemble doing satirical things. 'Saturday Night Live's sketches were broader than ours, more universal.

I believe that pop culture is just, like, so ready for 'Watchmen.' We tried so hard to ride that wave between satire and reality, and all the things that make you still care about the character, but you don't miss the commentary about them.

For every character, I think about who they are, their story, what they are, and who they were before their game started. What was their life like? Where did they grow up? What were their parents like?

'The Simpsons' was about children and married parents; 'Futurama' is about people in between; they're growing up and haven't settled down. Every other cartoon show seemed to be, you know, dumb dad, bratty kids.

The characters in the book grow up with us. My voice has broken as well.

You might find me outside with a can of hair spray, spraying it with the hope that the sun will burn a hole in the Earth. Another part of me hopes people will grow up and evolve and get smarter. That's the paradox of Marilyn Manson.

Dobie was so well written and so ahead of its time.

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.

Sometimes you'll see people give performances in comedy with an ironic detachment where they'll sort of be remarking on the character from outside of it. They're sort of commenting as they're playing the character. I think it's hard not to do that. I've certainly done that.

There's no more to Holden Caulfield. Read the book again. It's all there. Holden Caulfield is only a frozen moment in time.

What about Hong Chau? In typical supporting-part fashion, she shows up halfway through 'Downsizing,' already shrunk, an imperious Vietnamese house cleaner with a limp and sharp angles. The movie's satirical cleverness upstages its rage; then Ms. Chau proves she's capable of managing both.

'Tammy,' the new movie starring, produced, and co-written by Melissa McCarthy, could be an artifact from some alternate universe: the creatures there resemble Earthlings but have an entirely different and debased idea of what's funny.

I started reading and fell in love with the worlds and characters Lev Grossman created. I'm taken with his exploration of an idealized childhood fantasy through the lens of adulthood, or coming into adulthood.

As a teenager, I read a lot of science-fiction, but then I read 'Catch-22' and 'The Catcher in the Rye' and started reading more literary fiction.

Guys play characters that won't grow up and something catastrophic happens and they have to grow up to save the day - that's pretty much what today's comedy is about.