Pauly Shore Quotes

The best part about stand-up is that you control everything. Period. When you work in movies, or on TV shows, there are 50 other people involved.

When someone says to me, do you do stand-up I say absolutely not. I like to think of it as a theatrical performance. With me the show changes maybe five to ten percent every night. Of course, whatever I see in front of me and sometimes I get on a little run about it and it changes the show. And my delivery is such that people who have seen me many times say Gee, I never heard that before. Actually, they have, but I might have changed it around.

There are jokes I know I want to tell, and there's sort of a rough order, but usually I try to change it up every show, to improvise and talk with the audience. I think when you tell jokes, if you're not careful, you can end up telling the whole list of jokes and then that's it. And that can get a little boring.

When you work in movies, or on TV shows, there are 50 other people involved. And it's hard, man. They brainwash you to think you're doing the right thing.

That's why I'm really trying to produce my own stuff. This film was so good, because I produced it myself, and developed it, and made it with New Line, which is a smaller studio, so I was in control of a lot of stuff that I wasn't in control of for my other films.

I did not necessarily feel that Hollywood was interested in what I wanted to do. They wanted me to do what they wanted to do.

Ok so there's no TV shows, no movies going on fine, but I love going on stage and performing stand up so my situation is a little better than someone who's strictly just an actor or actress.

I'm fortunate enough to act in a TV show that makes me a lot of money so I can pay for my own movies. I don't have to wait for anybody and that's more of what I like doing. But I still think that you don't have to be connected in the industry to make your movie. You just have to write something that is meant to be made cheaply.

Stand-up is an amazing art form, I think, because it's all about you having complete control of the situation, but absolutely none.

For about three years I was performing at one bar in East Los Angeles that was like a mean dive bar. You're in there performing for drunks or bikers, not the most flattering people. I think it helped build my confidence, because you have to get their attention, then make them laugh.

To this day, to this very day, except for television, I've never had a writer. Anything I've ever done on the stage, happened on the stage and I developed it from there. It started doing impressions and jokes - which I did very poorly. To this day I can't tell a joke. That sounds nuts, but it's true. I exaggerate it and it becomes a joke. Everything I've ever done I've done out on the stage and it became a performance over many many years.

When I do any stand-up, you're the writer, director, and producer. You're alone.

[Stand-up] might be ballsy, but I'd rather not be an actor. Actors are tools.

If I could make the same amount of money doing standup it would be no contest. The problem is that if you do make that kind of money doing standup, it's not in clubs, it's in big auditoriums and large venues, and I really think something is lost when you do standup for a big crowd.

I'm very lucky in that I've gotten to do a lot of things. But if you ever put a gun to my head and said, "You can only do one," I'd think it would be stand-up. I think it's the coolest job in the world.

Todd Glass has amazing energy on stage. Dave Attell is one of my favorites because he's a one liner comic who is always incredibly in the moment with the audience. As for newer people, I think Adrienne Iapalucci writes some great, dark jokes and Sean Patton has a hilarious voice on stage.

The whole thing with comedy is that you are always in control. Writer, director, actor, producer, and sometimes bouncer. And you are just a piece of their puzzle.

You're always on duty because you're in a constant state of observation. That's one of the challenges of being a comedian. I think one of the other challenges is that, whether we like it or not, it's a profession that requires failure. It doesn't just encourage failure. It requires it because it's all trial and error. You need to know what doesn't work to know what works.

In comedy you feel you need to go back to the theatre every now and again, you feel you need to go back to an audience every now and again to see if you're still getting your craft right, making people laugh at the moments you think they should and that sort of thing.

All my TV shows are done live in front of audiences, and all the material I take on the road and travel with them test them for hundreds and hundreds of shows before I shoot them for TV.

By the way, to perform in front of Don Rickles, it 's not nerve-wrecking. It 's enjoyable, i am enjoying Jeff Garlin. I hope I perform in front of Don Rickles every night of my life !

I think I always enjoyed the energy of a crowd, of being onstage. It started when I was even younger doing public speaking at school and just kept going from there.

There are enough bad films coming out of this town already without the process being more democratized. I'm a guy who loves democracy. I'm all for democratizing any process, but I think there is a price to pay for that.

All I've learned is that you need the studio system sometimes, if your budget is a certain size, and other films you can do independently. When I think of a studio, I generally think of distribution. Since I'm a director, I have a similar creative experience on every film I do, because I can control that. But then it's a different film, I think, as it reaches the public, depending on the way it's marketed. I don't know. I haven't learned much of anything. Sometimes you need them, sometimes you don't. Sometimes they want you, most of the time they don't.