Farce is nearer tragedy in its essence than comedy is.
A great philosopher has stated that the worst evil of poverty is, that it makes folks ridiculous; by which, I hope, he only means that, as in the above case, it places them in incongruous positions.
What I really want to do is to write a hilarious farce.
I think ultimately, when you believe somebody is going through a situation and it's either awkward or ridiculous, but you believe it, that can be funny.
We would go to photo sessions and it was just the most ridiculous stuff. It was like, 'Here, lick on these lollipops.' And we're like, 'What?!' It was horrifying. But we would laugh.
Humor is a way of saying we're all seeing the same ridiculous, absurd, infuriating things together.
In novelas, sometimes you get the most ridiculous situations, but you make the best of it. But novelas are a very special genre.
I knew nothing about farce until I read Puce a l'Oreille, and had no idea what a deadly serious business it is.
The Bond situations to me are so ridiculous, so outrageous. I mean, this man is supposed to be a spy, and yet everybody knows he's a spy.
I loved Old School. I thought Old School was very different than a lot of the comedies that had come out. And that character I liked. I tried to ground him very much in reality and play him very much finding things important to him that are somewhat ridiculous.
Pierre [from Dude, Where's My Car?] could be the best thing I've ever done. When you distill it down to a minute and a half of work, that may be my finest effort.
