When you do comedy, the audience is not your boss. They are your collaborators and when you collaborate with someone you don't have to listen to everything they think or say. Sometimes you're not getting the laughs you want or at the place you want but that doesn't mean it's not funny. It means you haven't explored it enough. I'll get laughs in the places I don't want them and that makes me realize the direction I want to go in.
There's a difference between a sense of humor and a sense of funny. A sense of humor is knowing what makes you laugh and a sense of funny is knowing what makes other people laugh. The journey of comedy, in a sense, is negotiating those two worlds.
You're the hero of your own story. I had let go of my own story from my own childhood and whatever anger I had and I began to see it from a very different place. It's really easy to be like "This thing happened to me! Look what they did to me or are doing to me." These are such powerful ideas and it's so easy to hold onto them forever. When I let go of those ideas it was easier to see my childhood from different points of view.
I like being around people who are good conversationalists. When there's a give and take, and you are heightening an idea, exploring it together, that is my favorite thing in the world. I love a small dinner party - let's say six people, max, where everybody's having the same conversation. That's my favorite thing in the world.
I am a big fan of Neil DeGrasse Tyson. He's the voice of science and scientific thinking in the United States and the world. He's the most visible proponent of scientific thinking, and he's very unflinching about it. He knows that it's correct and vouches for it in a very intelligent and very firm way, which I really appreciate.
I am afraid of abandonment, and, if you will, in a really existential way, being exposed as a fraud. Everyone's afraid of it, and I definitely am. This is a fear that motivates. Oh, and heights. And getting stabbed.
Last season when I was on set...for some reason I had The Battle Hymn of the Republic in my head but I didn't know all the words. It was one of those songs you had to learn when you were younger. It wasn't as important for people raised in the 80's and 90's as it was to people raised in the 50's, 60's and 70's so when I started singing "My eyes have seen the glory of the coming of the Lord," Jane [Fonda] heard me singing it and started singing the rest of it. Suddenly everyone on set everyone was singing. That's just something I can keep in my heart forever.
Lily Tomlin...I used to watch reruns of Laugh-In and she was always my favorite part. She's this very unique talent and the way she does things has been a very big influence on me.
Being around Lily Tomlin has been great, how she treats people, how she handles herself, how she goes about interpreting her character or deciding how the comedy should work.
I'm working with a lot of legends who are brilliant who are people I've looked up to from a very young age.
First of all I love Empire Records and That Thing You Do and all the movies he did from that era. He hates when I bring that up.
I'll get laughs in the places I don't want them and that makes me realize the direction I want to go in. I don't mean to get too deep into comedy here.
I remember reading in a comedy book very long ago when I first started, a person said there's a difference between a sense of humor and a sense of funny. A sense of humor is knowing what makes you laugh and a sense of funny is knowing what makes other people laugh. The journey of comedy, in a sense, is negotiating those two worlds.
Sometimes you're not getting the laughs you want or at the place you want but that doesn't mean it's not funny. It means you haven't explored it enough.
The audience is your first collaborator with the material. If that makes sense.
The audience is not your boss. They are your collaborators and when you collaborate with someone you don't have to listen to everything they think or say.
Every laugh is not equal. They come from different places. That's sort of the challenge I go towards, making sure the laughs are for the reasons I want. It becomes a back and forth dance with the audience.
As you go on you realize "Okay I know how to get laughs but am I saying things I want to say? Am I writing jokes that I like?" You get to a point that is that so you move on.
Basically I made her [ Sara Pocock] listen to funk music for a good month, a nonstop stream of George Clinton. I was talking about the art from...if you look at the art from George Clinton albums there are two or three artists he worked with...I made her listen to my album too so all the images are from jokes I made. I wanted it to look like the thoughts that are coming out of my brain which is what comedy is anyway.
When you're a young comedian the first thing you want to do is get a laugh.
The album [Blaxistential crisis] artwork is by a friend of mine who is a brilliant artist named Sara Pocock. We've been friends for a couple of years and she worked with me on the animation. I believe she's still working over at BuzzFeed.
I can't do Christopher Walken impressions anymore, thanks [Barack] Obama.
I think Batman Returns is right for riffs. I love it but it's the ultimate Tim Burton movie. There is so much that happens that's crazy and there are a ton of things to riff.
There are a bunch of different movies I feel that way about. However, there is a debate because as you may know after MST3K ended there have been things like Cinematic Titanic that are the children and the grandchildren of this way of dissecting movies and making fun of them and in a way celebrating the absurdity of those movies as well. There are certain movies that sort of fit into the MST3K paradigm which is hidden gems, these weird horror/sci-fi/fantasy movies.
Netflix is very protective with their information .
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: