Absurd Situations Quotes

God knows the times I have found myself in absurd situations.

When I write, I create really absurd situations which become false because I am after the joke.

I do feel I'm kind of a magnet for crazy, and if there isn't enough crazy, I will insert myself in a situation that I feel has comedy potential.

When you buy my books, you kind of know what you're in for. It's kind of self-selecting. If you have a delicate sensibility, and you're easily grossed out, you probably will never read one of my books.

Everything you do, burns calories. Getting up in the morning, 100 calories; kicking the hooker out of your bed, another 100; diapering your monkey, 35 calories; laughing at a midget, fun and 10 calories; catching your girlfriend with another guy, 2000-3000 calories, depending on backswings.

When things get so absurd and so stupid and so ridiculous that you just can't bear it, you cannot help but turn everything into a joke.

All I try to do is as earnestly and as acutely as I can, conceive a character and try to portray this character just honestly. If the humor is within the absurdity and the awfulness of situations, then let it be seen that way.

On 'Scrubs,' I played a very unusual character who pretty much was defined by saying and doing strange things, so it was easy to improvise around that.

When you are dealing with something that's crazy, you still want actors to play characters and find the reality of the situation, no matter how absurd the situation is.

When you know to laugh and when to look upon things as too absurd to take seriously, the other person is ashamed to carry through even if he was serious about it.

People seem to want to give 'Flowers' a comedy or a comedy-drama label. I suppose it's closer to comedy-drama, but it feels like it requires a whole new definition all of its own.

Sitcom storylines are usually incredibly contrived.

I always find it actually funny that the analysis is that the characters I play in comedies are the manchild, the adolescent, characters that refuse to grow up. And yet, if you look back in the history of comedy all the way back to the Marx brothers, that's a big part of comedy.

I don't know if I've ever read a movie that's as strange and unpredictable and hilarious and wonderful as the stuff we're doing on 'The Last Man on Earth.' It's jaw-dropping every week when I get a script, because it goes to such strange places.

The only moral it is possible to draw from this story is that one should never throw the Q letter into a privet bush, but unfortunately there are times when it is unavoidable.

I'm sure there has been something ridiculous [to sign], but nothing springs to mind. You have the usual things like breasts and such.

I've found I can plunge the characters into whatever absurd, awful situation, and readers will follow as long as the writer makes them seem like 'real people.'

What I love about the Coen brothers - what everyone loves - is that they sort of toe the line of a truly dark comedy.

Recording 'Tusk' was quite absurd. The studio contract rider for refreshments was like a telephone directory.

What before seemed a...frustrating wall, the comic deftly and fearlessly steps through, proving the absurdity of it all.

If I studied all my life, I couldn't think up half the number of funny things passed in one session of congress.

If you're playing things sincere in a really absurd, heightened situation, you'll achieve comedy as opposed to just saying funny lines and one-liners and stuff.

When you can't draw chameleons and you can't draw blenders, it's a bad idea to write strips where chameleons become blenders.

I love watching people be totally committed in a very real way to stupid situations. I find it's not so much trying to be funny, it's trying to be real in a messed up context. That's comedy to me.

. . . I do think that deep down, a lot of my work is about people trying to make reasonable accommodations of situations that are insane or absurd. . . . At first I thought the events had power in themselves, that I would just present them. I really wasn't aware of the things that finally became central issues to me - the shifting alliances, the way people hardly even know they've shifted. That part of [A QUESTION OF MERCY] is very familiar to me in terms of my other plays.