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Situation comedy on television has thrived for years on "canned" laughter grafted by gaglines by technicians using records of guffawing audiences that have been dead for years.
At those times I got into... I suppose you call it a rut. I used to do comedy, comedy, comedy and I suddenly thought I ought to break away from this somehow.
There's a lot of comedy in Intermission but it's got this depth. It's not comedy for comedy's sake - it's informed by something else. I like stuff like that.
I think that comedy really tells you how it is. The other thing about comedy is that - you don't even know if you're failing in drama, but you do know when you're failing in comedy. When you go to a comedy and you don't hear anybody laughing, you know that you've failed.
I think a lot of the instincts you have doing comedy are really the same for doing drama, in that it's essentially about listening. The way I approach comedy, is you have to commit to everything as if it's a dramatic role, meaning you play it straight.
Comedy just pokes at problems, rarely confronts them squarely. Drama is like a plate of meat and potatoes, comedy is rather the dessert, a bit like meringue.
Theo does comedy now, and he's traveling around the country doing comedy, and I actually just saw him, he's from Louisiana, and I just saw him when I went home to visit my family in Louisiana. I saw his comedy show and he was brilliant.
I can do comedy, so people want me to do that, but the other side of comedy is depression. Deep, deep depression is the flip side of comedy. Casting agents don't realize it but in order to be funny you have to have that other side.
It's a great counter to doing the soap because it's a comedy. It's real physical comedy.
I always approach comedy roles pretending they aren't funny.
Tragedy is a close-up; comedy, a long shot.
I love good comedy. I don't like bad comedy.
Anyone can write. But comedy, you've got to do some writing. You get one comedy script to every 20 dramas.
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