Comedy Script Quotes

I've requested Anand Raghav to write a full length comedy for me.

If it's something I feel I can do alright, I like being in those, and some that I think Rob Schneider and David Spade would be funnier at than me, I tell them to do it. I don't have any clue how we decide. There's this thing, this "Click", actually, one of my friends called me up, my partner told me about this idea that Steve Koren had. Steve Koren, by the way, the guy who wrote it with Mark O'Keefe, Steve Koren I've known since I was 22. He was a page at Saturday Night Live.

It was a role [Dean Sanderson] I hadn't seen before, and yet it was very accessible and relatable at the same time. I read scripts that have one or the other, but I rarely read scripts that have both. And it was laugh-out-loud funny.

I actually think the subject of young divorce is pretty funny; I'd like to write a movie about it.

I like comedies, and my brain sort of spins in that direction. So I'm really happy to say there were several smartass comments that come from me [on Star Wars].

When I was writing Razor Girl, I thought it would be fun to have a redneck TV family that was really just a bunch of actors who had to be trained to be rednecks. That's not so farfetched, if you know how Hollywood works.

He's a very funny and very nice man. When you read the script, you want to stick with it. But when you're with Eddie Murphy you've got to improvise. He's always making jokes and making me crack up when the camera's on.

We sit in a room for months trying to think of funny things.

[My] dream writers room: "'Taxi.' I need to write for someone named Judd."

It's just a lovely way to do comedy, where you have the freedom to try stuff, but then you also have a really strong, solid script to go back to if you're brain dead and tired.

Anyone can write. But comedy, you've got to do some writing. You get one comedy script to every 20 dramas.

I can't think of any bank robbery comedy where it's about two normal guys. It's kind of like Superbad meets Heat, which is a cool combo, and it's just fun doing a normal guy that's robbing a bank.

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.

Writing a comedy script is a difficult thing. I think if someone is attempting a comedy and then they fail then it's understood.

I used to like writing for comedians - I enjoyed the challenge of making other people funny.

I remember working with Jackie Chan on Shanghai Noon [2000], and when we were working on the script, I thought that my character thought about being an outlaw the way a kid today would think about being a rock star, as a way to impress girls. So it was just kind of a funny idea, but once we had that idea, it changed the character and made it something that was funnier to me to play.

A lot of the time, a comedy script is just dialogue, and that's the main thing you have to worry about.

The Larry Sanders Show сhanged my life. I am so thankful that - I mean, go figure. Most people are lucky to get one good series, but I got two ground-breakers. I just knew when I read that "Hey Now" script that something was afoot. Those were seven of the greatest years of my life. I learned so much, and it affirmed everything I thought comedy was. It was really a tremendous experience.

'War on Everyone,' I think... the script was hilarious to me, but it's very dark, dark humor. It's super dark.

Being a screenwriter for a comedy, you're writing for characters in them in their voice. I could write anyone.

People kept passing our [ with Robert Ben Garant] script around, and suddenly we had this reputation as screenwriters, which we're not - we're sketch comedy guys.

I'm working on a script right about Civil War re-enactors who go back in time to the actual Civil War. It's kind of a big, crazy Back to the Future comedy. So, of course, it's the Civil War - I play the banjo. I was just having a conversation with one of the producers about some of the material and he was like, 'You know, we have to work in a scene where you play the banjo. And I was like I'll get behind that.

If you're gonna tell a story from beginning to end, I always think you have to have a great structure in a script. If it gets you excited and it's something you've never read before that's another plus. I think also with improv and that whole world of stand-up, that's a whole other organism of comedy that still needs a story, but it's more free-form. On the set, it is the combination of both those worlds coming together: a great script and an allowance to play with it.

I've written a couple of scripts. Actually, a pilot. I'm not sure I'm allowed to say, but it's a comedy about three young men in New York City, one of whom may or may not be a romantic like me.

I've always felt that in a comedy script the stage directions should also have a comedic value.