When you do a four-camera sitcom, everything is a little schtickier. It’s not necessarily that you pick up bad habits, but there is just a very specific way of acting that you fall into on those kinds of multicamera shows, and you have to break those habits when you go in to do other things.
Sometimes I'll read things in the script and think, "That's not how humans behave," or "I don't understand how to do that role and make it seem like I'm not some kind of strange alien or on a sitcom." I don't get it, and when I feel that way, I have to listen to my instinct. My initial instinct does lead me in a direction that I can trust.
Finding a way to find humor in things that are hardcore is definitely something that, I think, the sitcom does best.
The most dramatic moves I have made as an actor have been from stage to screen and from sitcom to drama.
My very first job was something called Nobodys Watching, that Bill Lawrence who created Scrubs, it was his pilot. It was my very first TV job, and it was a sitcom. Ever since that experience, Ive been so itching to get back to that kind of environment and just to be involved with comedy.
My experience tells me that any time you hear people laughing on a sitcom, it's the writers who happen to be closest to the microphones - not the audience.
Many, many things are dangerous in our world, commercials and TV are dangerous, and so is the world of sitcoms. But nobody does anything about them because they're turning in alot of money.
I always tell that to young people - go to college, do theater, work with an audience. Don't try to learn how to act in front of millions and millions of people. Don't make that your first ambition, to be on a sitcom or get into the movies. Learn who you are as an actor, and the best way to do that is to do it in front of an audience.
I started on television, and on sitcoms, and loved them, but then they sort of seemed to be going through sort of an ice age, and they started dying off one by one, and I recognized that, and my representatives recognized that, and we said 'Well, let's look at dramas and other things like that.'
I don't think of marriage as the drudge work that a lot of sitcoms and movies might have shown it to be, I think it's more deadly murderous rage, unadulterated passion, soul-crushing purgatorial dread... It's more interesting.
I think the reason why I'm so alluring to networks is because on the surface I'm like a quintessential relatable, boring white guy. A great many sitcoms have been anchored by a boring white guy, so I feel like what they want to mine from me are my more generic qualities.
Canadian comedians are generally more well-rounded... They have to do a lot more. In order to have a career in this country, you have to do everything. And in the States you can narrow-cast, you can be just a sitcom performer or a stand-up comedian or a sketch performer.
Well, on a personal level, I would never want to take on a character who didn’t have some redeemable qualities. Even the worst of people, such as Michael Scott in The Office [Carell’s character in the US version of the Ricky Gervais sitcom], have some decent human qualities that you can latch onto.
I have to say Justine Bateman may be the most underrated sitcom actress ever.
I'm glad that that era of stand-up is over, because I think it adversely affected a lot of people who could have been really, really great comedians. Because they unconsciously or subconsciously stifled their wild impulses, and were thinking about the five clean minutes for The Tonight Show, or the 20-minute sitcom pitch as a stand-up act.
You saw a lot of guys, especially in the early '90s, whose acts were a pitch for a sitcom. A lot of them were very funny, but there's nothing worse than watching comedians or musicians who are up there and are doing something they're not interested in.
I have a lot of friends who were stand-ups, and they just stopped after a while, because they didn't like that battle, or they just couldn't do it. And then they would get on a sitcom and get visible and get back into it, because the audience was just way easier on them. But they lost those crucial years of learning to turn any audience into your audience.
Writing is the greatest thing about really good sitcoms.
The generations that were exposed to sitcom have the people actually saying the line, saying the joke, whereas sort of before that you have much more observational humor.
He convinced me - Fred Freeman - to go to Hollywood and we went to Hollywood to write sitcoms. Joey Bishop actually paid my way to Hollywood.
I love sitcoms, and I grew up on sitcoms. That's my tasty junk food. So I wanted to create a sitcom and have some really quirky characters, because most of the stuff they make now is just so marginalized. How interesting is a white guy who's 28 years old and lives in New York? What story have we not seen about a character like that? Just as a writer, it's so much easier to come up with comedy when you have a really oppressed Indian boy. Or a mother who is an addict but still has to take care of her kids.
I'm looking for parts that will challenge me comedically. I would love to be on a multicam sitcom one day, kind of like Friends. I love making people laugh and would like to continue to do so!
When I did a sitcom and played a postman, I was brought to tears playing that postman, because I felt like one. I didn't grow up even wanting to be a post man. Now, I understand the meaning of the term "postal." I was bored to tears. And what was funny was that the producer actually looked like a bug.
Television from its inception had the number one goal to alienate as few people as possible. That's why if you look at 1950s, 1960s American sitcoms, the characters don't live any place in particular, religion is never discussed, politics is never discussed, you never really know what anyone's job is; nothing that could make these people seem different from you is ever discussed.
I don't think there's a ton of new new stuff about doing a sitcom or doing a multi-camera show, but they work. They're fun, and they're energetic, and they're short. And when you fall in love with one - like, I will watch Seinfeld, I'll watch Will & Grace, all those reruns. I just can never get enough. I watch the same ones over and over and over. I watch the same movies that make me laugh over and over and over. I was hoping to be part of something like that.
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