Federico Garcia Lorca Quotes

So far, at least, I haven't found a way to tell my kind of stories without making them both sad and funny.

Dali had a good sense of humor - obviously you could tell just looking at him; he was funny.

I think that Ionesco's greatest weapon is that he's able to make us laugh at the darkest corners of our souls.

To me, some of the funniest movies would be probably categorized in the dramatic genre, and likewise, some of the most dramatic films, or films that have the most dramatic moments, are in comedies.

I like going absurd pretty quickly. You don't waste any time when you're doing theater of the ridiculous.

One thing I'm a big fan of is the theater of the absurd. That's what I come from, that's what I love to do more than anything. What I love about absurdity is the words "comedy" and "drama" get thrown out the window and it's just life, which is absurd.

Jill Eisenstadt's comic second novel, 'Kiss Out,' is a work of such extravagant wackiness, eccentricity, and exuberance that any attempt to squeeze it into the confines of a simple plot summary seems doomed to failure and is possibly pointless.

The nice thing about gag manga is how it has this aspect where, at the very least, you're permitted to come out with anything. In my case, anything can talk. Like the mountains.

That's what sort of fascinates me - what's funny as well as what's sad.

It's very weird trying to imagine yourself as a 'comedy character.'

Satire and comedy are really the only film mediums where you can get into ideas and have people leave the theater without being moralized.

We did a play of 'Frog and Toad' at my elementary school. And I'm not sure if this is part of the book or it was something that we made up on our own, but I auditioned to play the black hole, which somehow makes sense to me.

We have a need to make people laugh at things they'd never thought about, make them laugh at things that aren't logical.

Louie Anderson thinks my thing is the absurdness of reality. That's what we do on 'Portlandia' all the time. I try to bring that absurdness of reality to everything.

The first 'Interdimensional Cable' episode is amazing because it's filled with such absolute drunken nonsense.

I think it's true of every great comedy that it's rooted in some dramatic, incredibly personal truth. And it's true of all great drama that there has to be comedy.

It wasn't until a year later, when a young woman with Danish pastries on either side of her head knelt down in front of a walking dustbin to record an important message, that love truly came to town." - p 16 [re: Princess Leia]

The myriad-minded man, our, and all men's, Shakespeare, has in this piece presented us with a legitimate farce in exactest consonance with the philosophical principles and character of farce, as distinguished from comedy and from entertainments. A proper farce is mainly distinguished from comedy by the licence allowed, and even required, in the fable, in order to produce strange and laughable situations. The story need not be probable, it is enough that it is possible.

The life of every individual is really always a tragedy, but gone through in detail, it has the character of a comedy.

Chuck said, “Hey. How many surrealists does it take to screw in a lightbulb?” Cawley looked over at him. “I’ll bite. How many?” “Fish,” Chuck said and let loose a bright bark of a laugh.

In my own work, humor is necessary, for the reasons stated above, but also because forbidding your characters silliness, absurdity, irony, and vulgarity forbids them aspects of the human experience every bit as universal as sorrow.

Comedy exists to laugh at things that aren't laughable. But isn't it? That's what separates us from the animals. We laugh.

Who doesn’t want an exploding wicker chicken?

Humor is consistent with pathos, whilst wit is not.

By the power of Steven Wright's Beard!