Comedy Production Quotes

I've requested Anand Raghav to write a full length comedy for me.

I got written out of 'G.I. Joe' and was like, 'Welp, I'm going to go back to what I do: writing and producing comedy.'

Feature-length film comedy is harder to pull off than the episodic sitcom - it doesn't have the same factory machinery up and running, teams of writers putting familiar characters through permutations - but that doesn't explain the widening quality gap that makes movie humor look like a genetic defective.

I want to make out-and-out comedy movies.

It's easier for me to get comedies made because of my track record. Everybody needs to find their niche. I love dramas, but I understand that I am still just a young man in moviemaking. I know there will be some time to get back to that.

Where do you come up with these zingers, Clint? Do you own some kind of joke factory in Indonesia where you've got eight-year-olds working ninety hours a week to deliver you that kind of top-quality witticism? There are boy bands with more original material.

Especially in the world of comedy, it feels like you have to be proactive, in terms of pitching and trying to sell and being a part of the creation of the stuff that you do.

I think comedy is very easy. Its all in the writing. If the writing is good and you have good director it is good.

Comedy is all about the joke. Comedies usually don't do anything fancy with the camera [or] the lighting. It doesn't matter. It should never be fancy.

I watched Master Class with Lorne Michaels on OWN. How can somebody produce a sketch show and talk for an hour and not say something even slightly amusing, or sarcastic, or ironic, or interesting, or informative? 'My mission as a producer is to encourage creativity.' Mission accomplished.

The Daily Show was an incredible training ground for that kind of thing. It was all about discipline and generating material constantly.

I wanted to do a comedy. I'd been actively looking for a comedy. I wanted to do one that was different. Nothing against them, but I wasn't interested in just your normal sitcom, boy meets girl.

The best way to ruin a comedy is to throw a lot of money at it.

I did a guest shot on a comedy series where they did 20 to 30 takes of everything. It's just gone by then. The joke is over. It's not funny anymore, and then of course, the editor's the one that has to figure out the timing. I think a lot depends on that.

Working on The Daily Show, I co-produced all those field segments, and that's another huge thing.I probably did more than 100 field segments.

I believe how you measure a good movie is how many times you can see it. With comedies, I like to be a producer, because comedies can get corny and go off track real fast. I'm always the 'less is more' guy when it comes to a scene. So I'ma be the one who will keep it grounded.

I really enjoyed multicamera comedy. You film in front of a live audience, and it's kind of the best of both worlds. It's like doing a one-act play every week, but if you screw your lines up, you get to do it over.

I have become a giant fan of the testing process, especially with a comedy. I mean, they tell you what's funny. It's almost tailor-made for people who shoot the way we shoot, trying a million different options and versions of things. Because the audience doesn't laugh at a joke, we put in another joke. If they don't laugh at the next joke, we put in another joke. You just keep doing them and you can get the movie to the point where every joke is funny, if you have enough options in the can.

All the women I've grown up with at 'SNL' and other areas, and even the women that work with Judd Apatow, all those women are powerful, assertive women that have great material, and they just produce themselves.

Basically, I was always very interested in comedy, but I was much more sort of academic. And then, after college, loaded with my art history degree, I decided to go work at Comedy Central as a temp.

I'm a really gifted physical comedienne. I write and produce a lot of sketch comedy.

Instead of improvisers who want to be funny by themselves, we aim to try and make the scene itself as funny as possible. As a creator, I think that's someone you'd rather work with, whether it's a movie or a sitcom; that kind of methodology is good for collaboration. People want to be with those kinds of performers.

Lesbians are likely to be drawn to stand-up, if only because it's cheaper to produce and therefore more accessible for women. But the very form of stand-up is masculine.

The victory of the show is in the writing. Coming up with sketches and stand-up bits. The rest is just hitting buttons on a machine more or less.

Big studio comedies are such a headache.