Quotes of All Topics . Occasions . Authors
I've been waiting for the right opportunity to have a sitcom because I've been on TV like 10 times, but it was all reality shows, semi-acting like that.
I'm not sure sometimes if it was because Will was gay or it was a sitcom. But that combination does make it hard to become the new lead on the 'Sopranos.'
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.
Working in network sitcom arenas, whenever you decide to depart from the norm and tell a story that's not typical, I think you're always a little bit nervous.
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.
To those many millions of you unfamiliar with my work, I play a caddish British doctor in practice with Mindy Kaling on her excellent sitcom 'The Mindy Project.'
After my 1985 appearance on 'The Tonight Show Starring Johnny Carson,' I was wooed by producers in Hollywood, who told me they wanted to turn my act into a sitcom.
My favorite sitcom of all time is 'Cheers.' That's a perfect example of how, like, people made fun of Cliff, but you never got the sense that they didn't like Cliff.
I'm very lucky to be on 'Melissa and Joey' because it's a multi-cam sitcom, and it was a nice transition from theatre because it's taped in front of a live audience.
It used to be that if you were on a sitcom you couldn't get work in film because it was so different. Now it's almost like you have to be on TV to do other film work.
I'm just starting to realize the type of work that I want to do. Not everyone can fit into the sitcom world because it's so fast-paced, but it feels comfortable to me.
If I told my 18-year-old self that one day I'd have a sitcom and a sketch show on TV, I think he'd just drum his fingers and go, 'When? How long is that going to take?'
The Monkees was a straight sitcom, we used the same plots that were on the other situation comedies at the time. So the music wasn't threatening, we weren't threatening.
I love the sitcom schedule. It takes a week to make an episode, but we don't work on weekends. I'm usually done in time to get home for dinner with my wife and daughter.
There's no audience to wonderfully get in your way when you're doing a single-camera anything, whether it's a sitcom or drama or film. And I do mean that in the best way.
I started in theater. I would liken sitcom work more to theater work than I would, perhaps, to dramatic television. It's so quick. It kind of feels like the pace of a play.
A part of me wants to rely less and less on comedic visuals and make more substantial standalone music. And get a sitcom on TV where I can let my comedy do the talking there.
I've always had a good imagination. If I saw a sitcom, and everything was made out of cheese, I wouldn't go 'What?' I wouldn't get angry. I'd think, 'Right, OK, all cheese? Amazing.'
I was fired from an NBC sitcom called 'Friends With Benefits.' I was wrong for the part from the beginning, didn't even want to audition, and kept thinking, 'This isn't funny at all.'
In 2010, I was the star of a sitcom. It came and went pretty fast. But in the months from when I was cast in the sitcom through when it was done airing, my life did change remarkably.
Anything I have blown a lot of money on? Well, I have three daughters and a wife - that's four women, and I'm working on a sitcom, so you could say that I am just trying to stay alive!
'I Love Lucy,' the first classic, really belonged more to the Wacky Woman genre than the domestic sitcom; 'My Little Margie' and 'I Married Joan' were among the shrill, coarse imitations.
When I first started out, I kinda just wanted to do comedy stuff, and thankfully, I had a fair amount of success. I've been able to be on, I think, almost virtually every American sitcom.
I've thought my show would be a sitcom or a talk show. Never in a million years would I have thought my show would be docu-series/reality because you always think reality is something crazy.
I've always tended to write comedy, but I'd hate to just write some kind of sitcom or a lighthearted series of jokes and slapstick. I wanted to talk about some deeper things within the comedy.
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.
I don't think I could ever do a network sitcom because the humor is often based on some trite circumstance. I don't want to be a part of a show where it's mostly about coming up with the jokes.
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.
I feel like one thing that messed me up was living in a homophobic and transphobic society, and just being the object of mockery and disgust in your average sitcom or movie or person at school.
I don't know, on a sitcom, and in theatre especially, you have to really be listening to an audience. And if you're losing them, you can hear the sniffs, and the playbills shuffling and whatnot.
When I came out to Hollywood in 1985, I thought that I would be sitcom star. I'm a tall, skinny, goofy guy. I thought that I would make a great funny neighbor, or wacky office mate, in a sitcom.
You have to ask yourself if you want to be the kind of actress who's interesting, or the kind of actress who's meant to play the pretty-but-uninteresting wife of a chubby guy on a network sitcom.
I don't like the idea of being a human being, existing, talking to my friends, and having these real human conversations, and then getting to work on a sitcom and turning that part of my brain off.
My favorite thing to do as a kid was pretend I was in the opening credits of a sitcom. As the theme song would play, I'd look up at the imaginary camera and smile as my name would flash on the screen.
Basically, after an ABC sitcom I did, I ended up with a holding deal with 20th Century Fox. Absolutely cool. It pays you to be unemployed. And the bigger the entity that gives you the deal, the better.
Comedy comes out of everyone's worst day. No one writes a sitcom episode about everyone having a good day. It's always about someone being locked out of their house or someone being dumped or whatever.
Well, usually, when you're doing a sitcom, you get a script and every word or for the most part, is written. So, you know, if it's a 30-minute sitcom, then it's a 35-page script or something like that.
Like most comics, I tried to come up with a sitcom idea that was based around my life. And it didn't work out. But maybe because it didn't work out, that's why I ended up on 'Breaking Bad;' I don't know.
I'd like to explore the more abstract side of people's minds, as opposed to the usual sitcom stuff. I don't want to do the typical sitcom-type humor. I'd want to do stuff like go bowling with pineapples.
I had not met Tina Fey before I auditioned for '30 Rock'. Some people think we're old friends from 'Second City' days. I had always been a fan of Tina's. But I actually never planned on being in a sitcom.
It was Christopher's brilliant concept that he did not want this to become like every other sitcom where you do one take, and the audience gets bored with seeing it ten times, you know, over and over again.
In 1977, at age ten, I was cast on the TV sitcom 'Good Times.' My character was Penny, an abused child in desperate need of love. I really didn't want to do the show. I didn't want to be away from my family.
I watched a lot of 'I Love Lucy.' Then I went to college, and I didn't watch TV, really. I don't know: something happened after 'Friends' went off the air. I think something dipped in the whole sitcom world.
Comedy is my favorite genre. I think it often doesn't get the respect it deserves, and I think one of the reasons is there was a tradition in the past of comedy looking kind of brightly lit and like 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 hope we can see African American characters as the diva, as the villain, and also as the praying mother. We are all of those things. We tended to only be the best friend or the neighbor in everybody's sitcom.
I think a challenge with every sitcom is, how do you maintain things that people are attached to without becoming so reiterative that it just feels like you're sort of watching a reenactment of previous episodes?
My daughter recommended Chris O'Dowd to me after seeing him in 'Bridesmaids,' so I watched that and his sitcom, 'The IT Crowd.' When I was over in London, we met up, and I knew immediately he was the right person.
When you're doing a single-camera show, it's more buying into a level of reality. I think a sitcom, a four-camera show, doesn't require that so much. I think with a film show, you just need the characters to grow.
I've always liked the idea of writing a workplace sitcom that was set somewhere where the stakes were really huge and yet you would still have those normal, everyday office moments that everyone can associate with.