Soup dumplings, sitcoms, one-night stands--good ones leave you wanting more.
Zombie books were going to be my passion projects, but certainly not pay the bills. I thought I was going to have to get a real job on a sitcom or something, and have my zombie books to remind myself I was still a writer at heart. I never thought I could actually pay my bills and write what I wanted.
I probably would be continuing to do voice-overs, continuing to do cartoon shows, and at the same time I'd probably be on a sitcom or a dramatic television show.
With a sitcom, everyday you do a run through, and people are judging you, and the scripts are being changed nightly, nightly, nightly.
Eventually I got asked to be in a Michael J. Fox sitcom called High School U.S.A. I didn’t think it was funny and said no. They doubled the money, and that kind of offended me. I realized, oh, that’s right, my opinion means nothing in Hollywood. I’d seen other people compromise, and I felt that once you gave up on what you wanted to do, you couldn’t go back. It was selling out. So I decided to go back to Minneapolis.
Outside of the mindless sitcoms that the networks thrive on, people able to think generally consider most entertainment is escape in one form or another.
Americans get mad as hell with reasonable frequency but quickly return to their families and sitcoms.
It would be interesting if this sitcom works, so I could be doing one thing all the time instead of going back and forth between all this different media which I sort of thrive on, I'm a bit of a moving target in that way.
If I could live a parallel life, I would be a sitcom star; being in front of a live audience would be great.
I was only 11 when we filmed the pilot. The idea of a rapper being a star on a sitcom just wasn't heard of.
I do choose to write for a living - in addition to writing plays. I no longer write sitcoms, and I no longer feel shame.
I have been approached now and again about sitcoms, but, with very few exceptions, one simply needs to move to L.A. for at least a year or two these days if one wants to develop a series - which is what writing a pilot means. I've also been approached about writing episodes for sitcoms, but in order to do that one actually has to watch sitcoms. . . . Life's too short for television, and I don't what it on my actual gravestone, HE STARED AT A BOX FOR 10,000 HOURS.
So many of these comics are just frustrated singers or actors - they want to get a gig doing a sitcom. It's paint-by-the-numbers comedy, lame joke-telling. They're drawn to it as a career move.
You cannot begin to imagine the shock I had when I came down on the floor for the first time. First of all, there's this whole thing about playing sitcom comedy. I didn't want to do the sitcom thing, but I didn't know what else to do. I went slowly. We went through the week of rehearsal, then we got on the floor with the cameras, which I'm used to because of my experience in the old days. Then came camera day, with an audience, and it was stunning, enthralling, exciting and chaotic. I had never experienced anything like that before, as an actor. I was part minstrel, part actor.
My wife, Katey Sagal, has transformed herself from a sitcom cartoon to a dramatic powerhouse.
In comedy writing, a sitcom plot is basically the same thing: What's the worst thing that could happen? But you're playing it for comic effect. It's a similar muscle being used with Black Mirror.
I really loved when I started doing '70s Show,' though I had never acted before, so it was a great training ground being on a sitcom.
I had not met Tina Fey before I auditioned for 30 Rock. Some people think were old friends from Second City days. I had always been a fan of Tinas. But I actually never planned on being in a sitcom.
Sitcoms are incredibly limiting. When you do a sitcom and it becomes a signature part for you, it's harder to do something else; but if you do a drama, you can get lost in it and have a role to do other things.
I would really like to do a really cool one-hour show, maybe on like HBO or something like that; or something that Ive spent a couple of years developing so it would be exactly the character and exactly in with a huge push behind it; or I would maybe want to do a sitcom; something light and funny.
Acting in a sitcom or a comedy movie is like a comedy routine with the setups.
I was not looking for a sitcom, because the philosophy at that point was that you had to make a choice: Were you going to do movies or TV? You couldn't cross over.
The entertainment business is such a strange, crazy perception business that you're either given way too much respect, like people saying, "You should be the head of the sitcom!" Or you're given no respect, where they're like, "You should audition to be the garbage man that lives four houses down."
I didn't like what was on TV in terms of sitcomsit had nothing to do with the color of themI just didn't like any of them. I saw little kids, let's say 6 or 7 years old, white kids, black kids. And the way they were addressing the father or the mother, the writers had turned things around, so the little children were smarter than the parent or the caregiver. They were just not funny to me. I felt that it was manipulative and the audience was looking at something that had no responsibility to the family.
A lot of people are like, "You're doing commercials?" And I honestly feel like those Sierra Mist commercials are better than a lot of sitcoms I get offered. It's hard work, and I'm paid a lot of money, and I do it because I love the soda.
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