Alan Tudyk Quotes

It's great when improv is encouraged. It's a really fun thing. It depends on who's in the movie and how their process works as well. It takes a director who is open to that because you have a script, but then something funny could happen on set.

I graduated from Second City Los Angeles. It helped me tremendously, not only in my roles in films but in helping shape me into a writer as well. In improv, you will fail sometimes, so it teaches you to be brave and try anything. The worst that can happen is nobody laughs.

I think the kick to doing comedy is just to get in a film with really funny people and let them do their jobs. I find that in most comedies, I'm not the funny one, which works out great.

I love doing comedy, and that's the thing I will always go back to, really, but I'd love to have the freedom to do sort of 'meaty' roles but also have the freedom to do the sort of films I want to make, like what Woody Allen does. You forget he's funny because you're so gripped by the story, but they still make you laugh.

My drama instructor suggested I try comedy. I was resistant at first because I considered myself a serious actor, but of course I fell in love with it.

Every movie I do, or when I'm on the sketch comedy show, I don't really get into it until I have an outfit or something funny with my head or face or something.

Thing is, I'm a funny actor, but I'm not good at being funny. I'm going to ramble for a second: I'm an actor who can make things funny in the moment, like in stakes or in circumstances or out of character.

If I'm not clear with the character, I can't do anything with it. But once I get that character, the possibilities are endless. When you have such a defined character, I feel like I can actually read the phone book and make it funny.

Things that go on at Happy Times are very funny this year, and if you were watching last year, some of the people you saw then as basically extras emerge as real characters in their own right this season, at least to some degree.

I don't really know how to act that much. I'm quite good at comedy, but it's mostly acting naturally.

We went through all the scenes and they became kind of funny and they expanded a little bit and because it seemed to be working so well in the movie, they added a couple of things later on in the movie and that's how it turned out.

When I played Imunique on 'Love That Girl,' that was on the other side of comedy - loud and out there.

All I can do is keep my nose down and shoot the scene, shoot the scene, make it funny, make it funny, make it funny.

For Star Wars, they had me tape down my breasts because there are no breasts in space. I have some. I have two.

Everyone who makes a Star Wars film wants to make it their own but they also have to be true to the concept.

Sometimes people that are very good at improvisation in life, meaning like stage improvisation, aren't good in films because you have to ultimately take a scene where it needs to go. It's not about just saying something that's funny. You can say something funny but if it's not on story or driving the scene to its end it's really not very helpful at all.

I heard someone walk out of the alley behind me, and my body went tense and tight, despite my weariness. Then a young woman's voice said, in a passable British accent, "The Little People are easily startled, but they'll soon be back. And in greater numbers." I sagged in sudden, exhausted relief. The bad guys hardly ever quote Star Wars.

What people like are things to laugh at. Funny shows. It's all in the execution, the writing and the characters, not the setting. And the writing and the execution and the characters are GREAT on (Everybody Loves Raymond).

I like comedies, and my brain sort of spins in that direction. So I'm really happy to say there were several smartass comments that come from me [on Star Wars].

I've had people appear in my life that have helped me. I had more fun. I approached it thinking how would Jack Nicholson, "How would he do it?" So that's really what I did was I created this Gremlin character. So now people come up and they say 'Oh The Exorcist!'.. and I'm like "Did you see Repossessed?" They say either no or yes or whatever, and I say look at this, have a laugh, and then go back and look at a masterpiece.

I do a little improv in my shows. Kind of like our movie, I'll do beats and ideas of dialogue, but I think there's less pressure because it's a live show. If you mess up, the audience laughs because we don't really know what we're doing. But as far as shooting, that was very scary, trying to make a point and drive the film. It definitely helped improvising.

You have to be able to feel like you can play way outside of the box. If you're with a great filmmaker and someone you can trust, that's encouraged, and Seth was that kind of filmmaker and co-star.

I never go to the monitor. I just look at the camera monitor and my favorite part of all of the directing, except for the writing and editing of it, is right when we're rolling and they do lines and I'll say "Try this, try this, try this."

At the time, my 6-year-old kept thinking my character's name was "Sam Alone," which is kind of brilliant. The funny came out of Sam's sad core: the alcoholic, the sex addict, the person who thinks he's God's gift.

There should always be that leeway because if you think of your character as sort of absolutely fixed, then you just try and find actors to come and do exactly that thing, then you're not gonna be working with that actor's own set of internal impulses and who they are, so the best work is always a coming together of the actor and the character.