You know, when I’m working with the Kids in the Hall, everything comes from a very deep rooted, almost pathological sense of telling the truth about something.
I started when I was a teenager, at high school I started doing stand-up. And that’s what I thought I was gonna do. And then I met Kevin McDonald in a Second City workshop, and we started doing improv.
The worst thing about sketches is that they are the most labor intensive form of comedy you can do. Because you have to put almost as many resources and almost as much writing and story has to go into a sketch as goes into a half hour or hour. But a sketch only lasts about […]
The Monkees were all about laughter. Ask me why the Monkees are not getting together? They don’t want to have laughter. They want to be serious. I want to make people laugh.
When you come to the fork in the road, take it.
A lot of people try to say Yogi-isms. I don’t even know I say them myself.
Comedy’s all about comparisons and contrasts and congruities and incongruities and heightenings and understatement and exaggeration.
Self-expression is a hallmark of an artist, of art, to get something off one’s chest, to sing one’s song. So that element is present in all art. And comedy, although it is not one of the fine arts—it’s a vulgar art, it’s one of the people’s arts, it’s the spoken word, the writing that goes […]
Midwesterners have a kinder sense of humor.
George Carlin’s album, Class Clown, came out when I was in high school. I memorized a lot of that album. I’d come home from school, put it on, and listen over and over. I started memorizing it. I don’t even know why. I loved it so much I memorized it.