Malcolm D. Lee Quotes

When we wrote 'Avenue Q,' we worked hard to create something that could be funny and satirical but also had some surprise moments of heart, moments when the music itself could become a central player and create something sweet and moving.

I'm not against people just being funny or telling stories. I don't need to delve into the soft, dark core all the time. If it happens, it happens.

If you can have heart as well as the comedy, it takes you a lot further. I think that that's what we were trying to do with 'Gigi.'

I guess that is my favorite thing - to make people laugh and also to maybe engage them emotionally and touch them somehow in telling the story.

You can channel a lot within a comic framework, and I think 'The Guard' had a lot going on outside of the comedy, which is satisfying.

To be perfectly honest, drama is a lot simpler than comedy.

A good comic explores the imagination, but it's always got to have those notes of truth running through it.

The social dimension of the art world is fascinating to me, but I also want to entertain the reader, so I will let a character say something funny.

A lot of people think that comedy is sort of a cop out to not wrestling seriously, but I actually would argue that comedy is much more difficult than wrestling seriously because you have to be creative in almost everything that you do if you want the comedy to make sense within the realms of pro wrestling.

Content films necessary don't go by the content, they go by the emotions. Content films are about content whether you want to portray the content or sell it through humour, through seriousness, is a choice of the filmmaker.

We could make the most beautiful film in the world, but if it doesn't have a heart beating underneath it, then no one's going to be interested.

I love films that make you feel something but also deliver that payload behind jokes.

I think it helped that 'Fleabag' had such a dramatic arc to it, even though it was disguised as a comedy.

You don't have to underestimate your audience anymore. They'd actually like to laugh a little bit. So, the character came to me and once it's got its grips in you, there's nowhere to go.

I try to tell the best story, and the story that has some heart and some genuine terror and some social commentary and some comedy and some romance and some sex and some violence.

I'm trying to make sure that there's comedy as well as sadness. It makes the sadness more memorable.

I think any decent comedy worth its salt has to have heart, otherwise it's just a bunch of jokes. I think people enjoy comedies that have a heart and soul to them.

Tone is everything in TV.

I enjoy the work I do in comedies. It's a valid test of your creative abilities.

The best book, like the best speech, will do it all - make us laugh, think, cry and cheer - preferably in that order.

I think there's something really thrilling to having to get people laughing about something, and then, when you have them in that comfort space, you can drop the weight into the texture of the story.

In fifth grade, we had to write a story and read it in front of the class. When I read mine out, the class were just belly laughing. And I remember being like, 'This is the coolest!' So I want to dedicate my life to trying to make people laugh. I can't imagine doing anything else.

What I've always done as an entertainer is try to come up with things that people will find interesting, or compelling, or humorous.

I really loved what I was doing being creative and being funny as a stand-up comedian.

In 'Beowulf,' director Robert Zemeckis uses a technique called 'motion capture' to conjure fantastical things, angles into action and sweeping vistas to stun your eyes and take your breath away. But what he hasn't mastered and what the technique can't do is this: emotion capture.