If sitcoms were easy to write, there'd be a lot of good ones, and there aren't.
I did this TV show, which was my first job ever. It wasn't a real acting part. It was like this promo for this sitcom and the main actress was meeting three different real people and then she was going to decide who was going to be on the episode.
I didn't want to do the sitcom thing, but I didn't know what else to do.
I have hair that I audition with, my sitcom hair which is a curly wig. I have my long chic hair that I wear to my son's school so they know I'm not playing around. I always tell people that my husband gets a different woman every night when I come home from 'The View.' Hair makes you feel a certain way, like putting a power suit on.
The trend now is to get away from stage bound sitcoms.
I sort of have open invitations from a lot of people to do TV. But it's very hard for me to do roles in sitcoms and movies because I'm not a great actor, so if the material isn't good, I'm in torment while I do it.
When 'Family Guy' started, we wanted to make it more like a sitcom. And there was very little music.
I took acting classes in college, and once I graduated, I decided to give acting a shot when I couldn't really think of anything else to do. It took me a couple of years to get an agent, and my first big break was The Fanelli Boys, which was a sitcom on NBC. Then I did a few television movies.
Black Books adheres to a more old fashioned, traditional sitcom format, which I think works, because in its own way, it's quite theatrical.
I thought The Office was good, though I didn't think of it as a sitcom, just as a very good programme.
I never had any interest in sitcoms or motion pictures or anything like that.
There are different kinds of passages in the movie [Chicken with plums]. One of the passages is like a sitcom and another is a bit more delicate and another is more bizarre, so you have to have people who know how to navigate that.
It's the opposite on a sitcom. People crave the character to not learn from their mistakes. They want to just see the situation, and then see how that character is going to react to that particular chaotic catastrophe. That's just my take on it, anyway. I don't really get too hung up on what the future of the show is.
The reason I'm doing a sitcom is because it's much more approachable.
I grew up on network sitcoms. If those are gone when I'm 65 years old, I would never forgive myself for not stepping up to that plate, as often as possible. I'm already bummed out that DVDs are dying off because, in my 20s, those were a huge thing.
There are so many sitcoms. So, when you get to be a part of something that feels exciting to you, you just want to be a part of it.
Well, I came down to LA initially to join The Groundlings, which is an improv comedy group. I didn't get in, of course, becaue I'm not a part of The Groundlings. I just assumed that I could walk in and take over. So they said: "Hit the road Jack." And I ended up getting an agent instead. They sent me out on a couple of leads and I ended up on a sitcom and Van Wilder thereafter and then pantsless with Sandra Bullock.
I've always wanted to have a Greek sitcom called Olive Lucy.
The film is better for me than the sitcom. But the sitcom is like much more practical approach, if I may say that, because of the cost. Everything costs money, a lot of people don't realize that.
I always try to use my medium, and if I get into a normal sitcom-writing contest with normal sitcom writers, I'm going to lose.
I would love to play a main character and then play different characters as well. I would want for it to be a sitcom, multicamera, audience - that's definitely a dream. It's in the works, so... it's closer than everybody thinks it is.
I just want to continue to do comedy. Comedy, I'm discovering, is my niche. It's what I'm born to do, so I would love to have my own sitcom one day in the future.
We were the daughters of the post-World War II American dream, the daughters of those idealized fifties sitcom families in which father knew best and mother knew her place and a kind of disappointment, and tense, unspoken sexuality rattled around like ice cubes in their nightly cocktails.
Nerves are always a big problem for me, which is why I loved doing American sitcoms. Because you know when you do the take in front of the audience that you're going to do it again afterwards. A minute after you finish, you just go and do it again. So, there's that sort of safety net. And then if you made a little mistake or two, they'll go pick it up, so there's nothing to worry about.
I think the anti-intellectualism of a lot of contemporary fiction is a kind of despairing of literature's ability to be anything more than perfectly bound blog posts or transcribed sitcoms.
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