Comedians From The United States

"Bee Movie was a very unhappy experience, from start to finish. I remember standing in the back of the theater and it wasn't great, but it was decent and, and I remember listening to their laughs and thinking, These laughs are shit. That was not worth it."

"Should I mention the other shows that were on at [the same time as Seinfeld]? 'Unsolved Mysteries'? 'Alf'? Where are they? Why is there no Hulu deal for them?"

"Once we got [Julia], I was absolutely convinced, from then on, that nothing could really hurt the show. That it really-- It just felt like a balanced team."

"The idea that you have two guys who've never written a show being run by a network executive that had never had a show, leading to a show that has a unique and unusual feel: this is a model that all the networks subsequently ignored -- and never did again -- except for HBO! I think HBO-- I don't know if they really knew that that's how our show evolved, but that's a network that hires people that they like and says... that's the end of their job! "We like you; do what you think you should do." And it leads to much more distinctive programming!"

"Once I'm done with [a] bit, it either goes in the garbage or the accordion folder. Those are the only two destinations. And then it's in the air. It has to survive on its own. Bits are like turtles right after they hatch, running to the beach."

"I think spending your life trying to dupe innocent people out of hard-won earnings to buy useless, low-quality, misrepresented items and services is an excellent use of your energy!"

"If your things don't make you happy, you're not getting the right things!"

"[Larry and I] had a lot of fun writing then. We always had fun writing; it was never a struggle. I don't remember us ever really racking our brains too much in writing. We had a great chemistry."

"We are a hopeful species. Stupid, but hopeful."

"I have always wanted a Clio. I don't know much about it... but I know it's a good award, because in 1991, they screwed up this whole presentation, and there were a bunch of awards left over, and all of these ad people here climbed up onto the stage and tried to grab them! So, to me, that says: "This means something!" That really happened, and it's my all-time favorite award-show occurrence because it was so honest. People just said "I want a damn Clio", and they went for it."

"The journey of someone coming in the room with an idea for something, and then saying "Yeah, that sounds good; let's do that", and then, the-- it going into an outline form, and then a script form, and then a read-through, and then a rewrite, and then a rehearsal, and then more rewrite, more rehearsal, then a shoot night, and then an editing process, and then finally going on the air, is essentially an off-road egg race where you carry the egg in a spoon."

"It was always heartbreaking. You could get [an idea] all the way to the edit... and it-- and it falls apart. You got it all that way and right before it's in the-- just as it goes in the show, you go "That's not the right angle... and it's not funny at all now." And even though you had it all that way, and then, just at the last moment, you just "Oh! You dropped the egg!" Splat."

"Thank you all for this great honor, and for all your great work. I hope it makes you happy, as you have made me happy for this five minutes of my life, which will last until I get to the edge of this stage and it hits me that this was all a bunch of nonsense."

"It might be fun to see what it's like to run something into the ground. I missed out on that. I'm curious about it. I want to know what it's like for everyone else."

"I don't remember when I saw the testing results, but it's really one of everyone's favorite things about [Seinfeld], is how poorly it was received by the network people. [...] My favorite thing in the testing is that the show was considered "contemporary, unusual, humorous, and appealing to young adults: therefore, not something that we would want". (laughs)"

"I love advertising because I love lying. [pause for laughter] In advertising, everything is the way you wish it was. I don't care that it won't be like that when I actually get the product being advertised, because in between seeing the commercial and owning the thing, I'm happy! And that's all I want."

"I have often wondered if there's a way to teach being funny or comedy, and George Stephanopoulos actually got me wound up enough at one point that we were going to contact, I think his name was Lee Bollinger, the president of Columbia, and we were gonna go in there, and I was going to teach a course on comedy. Because I know a lot about it, but I just don't know if it's teachable."

"Truthfully, I loved working on every episode [of Seinfeld], we just had the best time and got along great, and there were a number of years when the show wasn't successful and we still loved it."

"I was very surprised by Festivus catching on, but I think people just like the line rhyming Festivus with "rest of us" is 90% of it. And no presents, and you don't have to buy decorations, it's just an aluminum pole."

"I'm supposed to get the colonoscopy test. When you get into your forties, I think-- I have heard -- from the healthcare professionals -- that you-- it's very important to get the camera up your ass. I have resisted this... because I feel the press has invaded my life enough. [pause for laughter] I feel that I will draw the line here, and say "no" to the pooparazzi."

"The question is this: "What have I been doing?" Everybody says to me "Hey, you don't do the show anymore! What do you do?" I'll tell you what I do. Nothin'! [pause for applause] Yeah, I know what you're thinkin': "That sounds pretty good!" You're thinkin' "I might like to do nothing myself!" Well, let me tell you: doing nothing is not as easy as it looks. You have to be careful... because the idea of doin' anything, which could easily lead to doin' somethin'... that would cut into your nothin'... and that would force [you] to have to drop everything."

"I don't know if the average person would like [being famous]. I really like it. I think it might surprise them that the advantages far outweigh the disadvantages. I think most people think of it as a problem, but it's all in how you look at it. But I do think that's the case, you get a lot more than it costs you in privacy invasion or whatever."

"It really is funny, it's very easy for me to remember that [Seinfeld] was very unsuccessful for a number of years, the first 4 years, and I remember thinking "I don't know why people don't seem to like this, it seems so funny to me." But I never thought it was going to be a big success. But it worked out."

"A cat is a small sneaky animal that manages to get by without any real relationships."

"I would say the advice I would give [my younger self], or any young person, would be "Keep your head up in failure, and your head down in success.""

"The worst advice is, you know, you have to do more to promote yourself. That's the worst advice. The best advice is to do your work, and you won't have to worry about anything else."

"Any new technology: it just gets translated into a sexual form. Home video? "Sex video!" Phone? "Phone sex!" Internet? "Porno website!" Copy machine? "Put your ass on it!""

"I used to sit in my room at... let's see: how old-- I was ten years old... playing [Bill Cosby's] albums and just crying laughing, and just in wonderment at what he was doing, and just-- that I had never heard somebody be so funny before."

"I don't see people in the audience, I'm in an ultra-focused state when I'm onstage, I only go by sound - I listen to the audience but I don't look at anything in particular. I'm really visualizing the stuff I'm talking about."

"There is a similar kind of feel for rhythm and tone in comedy as there is in music, I think. You have to, you know, words - you use words in the same careful way in a song that you use them in a joke. Having just the right word in just the right place seems to make it work."

"At one point, in the early 80s, I got a part on a sitcom called Benson. And I was on the show for 3 episodes, and then I got fired. And I thought that would be the only break I was ever going to get. It was just a youthful lack of perspective. But at the time, I thought that was it. But it really ended up making me really get into being a much better standup comedian so that I wouldn't be dependent on other people. It ended up being a good thing. The best things in my life have been the bad things that taught me stuff."

"I always say your number of years in comedy is about your maturity level. When you're doing it ten years, you're like a 10-year-old. Fifteen, you're like a 15-year-old; you're start-- a slight bit of maturity. Twenty years, you're like-- kind of a grown-up, but still completely infantile."

"I have this image in my mind of what a comedian's supposed to be... that I'm always trying to live up to, and that I always fall short of. [...] I'm the show for the night. I have to make that evening work for those people."

"No. Books take a long time, and I don't get to hear the laughs."

"I think funny is always kind of time-proof, so I think [Seinfeld] could have worked even today. Obviously it would have been a completely different type of show. But you know, what made the show work was the bringing together a bunch of great actors & great writers in one place at one time."

"I've already done something, and [Bill] reminded me of that. And now, this-- I really just want to do what I love to do... and I want to go where he's gone. Y'know? I want to be able to explore this [comedy] thing and maybe find some-- That's what I keep thinking: that maybe there's something else out there! I just feel like I can go somewhere with it. I don't know where."

"I could have easily done [Seinfeld] for one or two or three more years, but it would have changed the way people look back at it. I think I made the right decision. Because people like the show now even more than they did in the 1990s, because it didn't get worn out."

"I felt as a child that i related more to blue than my own name. I have a very powerful connection with that color. And it's always been extremely important to me. It's weird, I don't understand it myself, but there's certain blues - Jeep Wrangler makes a blue that will make me stop walking on the sidewalk, and just turn and stare at it."

"Being old is great. There's so many things that you're done with. Like running really fast. I was single until I was 45, and I liked that, but then I couldn't take it anymore. So when you're old, you get to relax a little bit. And you can see much more clearly of what's going on in the world. When you're young, everything is really confusing, and when you're old you can see through people and events really clearly, and I like that a lot."

"When I was starting out, I used to sit down and write a couple times a week. And then, one day, I was watching these construction workers go back to work; I was watchin' 'em kind of trudgin' down the street... and I was just-- It was like a revelation to me, and I realized "These guys don't want to go back to work after lunch, but they're goin... 'cause that's their job!" And I [thought] "If they can exhibit that level of dedication for that job, I should be able to do the same." "Just trudge your ass in!""

"I'm very good at streamlining a series of activities so that everything gets done in the amount of time that I have. I am very good with the clock. Like if I have a lot of stuff to do and a limited amount of time, I'm very good at figuring it all out. I'm very efficient in everything that i do, I never waste time so that I have more time to waste."

"I pretty much engage with funny people, or weird people, or, y'know, kind of "off" people. Anybody who's a little normal -- even just take, let's say, a normal actor or actress -- I'm lost. I got nothin'. I'm not curious; I'm not interested. You got a show? I don't care."

"Being funny has not that much to do with what a great comedy act is about. A great comedy act is a machine that's built. Being funny is the fuel, but you gotta have a whole machine to burn it, and that's the act."

"The equivalent for a normal person would be to go in to work in your underwear... and try and do your job that you normally do. All of a sudden, you can't do anything. That's how a comedian feels when he's doing a new bit."

"When you're crafting an act, you need to see how that material works in front of each different type of situation."

"The idea of [Comedians in Cars Getting Coffee], honestly, was to try and create something that fit a whole new medium. I really was thinking "What would be a good TV show for a phone?" That was really where I started. And I thought "This would be fun for a phone, 'cause you don't have to follow a story.""

"For some reason, this is the big question that a regular person will ask you after a show: "How do you remember [all that]?" I don't know why they ask that. You don't have anything else to remember!"

"Funny is the-- is the world that I live in. You're funny? I'm interested. You're not funny? I'm not interested."

"That's one of-- a beautiful thing about having kids, is you reproduce people that you can relate to."

"The TV only works one way. You can't just yell at me and expect me to respond positively. You have to introduce yourself first. You can't just yell "HEY JERRY, C'MERE!" and expect that to work."