Well, all comedy starts with anger. You get angry, and its never for a good reason, right? You know its not a good reason. And then you try and work it from there.

All improv turns into anger. All comedy improv basically turns into anger, because that's all people know how to do when they're improvising. If you notice shows that are improvising are generally people yelling at each other.

For me, comedy starts as a spew, a kind of explosion, and then you sculpt it from there, if at all. It comes out of a deeper, darker side. Maybe it comes from anger, because I'm outraged by cruel absurdities, the hypocrisy that exists everywhere, even within yourself, where it's hardest to see.

I really used to like TVMaxwell, which is a classic, amazing, super-underrated comedy channel. And Cyndago was great.

At one point when I was very young, when I was first starting out, I thought, 'Well, one day I'll be able to put all the music away and become a real comedian.' But then I realized there are amazing musical comedians out there, that musical comedy is probably something I'll always want to pursue.

Making someone laugh is a good way to get their defences down so that they might then be open to new ideas, especially when they're laughing at some common ground they relate to. Comedy's always been an amazing tool for social change.

I love Benny Hill. He one of my favourites of aaall time. Like, the way Benny did it, he was just amazing. Just seeing how he put songs together and comedy and the timing and the sketches. He was way ahead of his time.

When I tour, it's like, well, like a food tour as much as a comedy tour. I try to eat at all the weird places, the obscure barbecue joints, burger places. There are a few spots in L.A. that I'm obsessed with - one of them is the Taco Zone taco truck on Alvarado. There are secret off-menu items that are amazing.

Comedy is helpful in almost any situation.

We modern human beings are looking at life, trying to make some sense of it; observing a 'reality' that often seems to be unfolding in a foreign tongue--only we've all been issued the wrong librettos. For a text, we're given the Bible. Or the Talmud or the Koran. We're given Time magazine, and Reader's Digest, daily papers, and the six o'clock news; we're given schoolbooks, sitcoms, and revisionist histories; we're given psychological counseling, cults, workshops, advertisements, sales pitches, and authoritative pronouncements by pundits, sold-out scientists, political activists, and heads of state. Unfortunately, none of these translations bears more than a faint resemblance to what is transpiring in the true theater of existence, and most of them are dangerously misleading. We're attempting to comprehend the spiraling intricacies of a magnificently complex tragicomedy with librettos that describe the barrom melodramas or kindergarten skits. And when's the last time you heard anybody bitch about it to the management?

As we wait and pray, God weaves his story and creates a wonder. Instead of drifting between comedy (denial) and tragedy (reality), we have a relationship with the living God, who is intimately involved with the details of our worlds. We are learning to watch for the story to unfold, to wait for the wonder.

It is the thought, not the incidentals of expression, that essentially makes an exposition unpopular. A systematic ribbon and button maker can become unpopular but essentially is not at all, inasmuch as he does not mean much by the very odd things he says (alas, and this is a popular art!). Socrates, on the other hand, was the most unpopular in Greece because he said the same thing as the simplest person but meant infinitely much by it. To be able to stick to one thing, to stick to it with ethical passion and undauntedness of spirit, to see the intrinsic duplexity of this one thought with the same impartiality, and at one and the same time to see the most profound earnestness and the greatest jest, the deepest tragedy and highest comedy?this is unpopular in any age for anyone who has not realized that immediacy is over. But neither can what is essentially unpopular be learned by rote. More on that later.

"LORD ILLINGWORTH: The soul is born old but grows young. That is the comedy of life.

Comedy aims at representing men as worse, Tragedy as better than in actual life.

Comedy is the art of making people laugh without making them puke.

Tragedy is when I cut my finger. Comedy is when you fall into an open sewer and die.

I was supposed to write a romantic comedy, but my characters broke up.

Actors are so fortunate. They can choose whether they will appear in tragedy or in comedy, whether they will suffer or make merry, laugh or shed tears. But in real life it is different. Most men and women are forced to perform parts for which they have no qualifications. Our Guildensterns play Hamlet for us, and our Hamlets have to jest like Prince Hal. The world is a stage, but the play is badly cast.

There is a thin line that separates laughter and pain, comedy and tragedy, humor and hurt.

The life of every individual, viewed as a whole and in general, and when only its most significant features are emphasized, is really a tragedy; but gone through in detail it has the character of a comedy.

Life doesn't make any sense, and we all pretend it does. Comedy's job is to point out that it doesn't make sense, and that it doesn't make much difference anyway.

Life is a drama full of tragedy and comedy. You should learn to enjoy the comic episodes a little more.

Life is the tragedy,' she said bitterly. 'You know how they categorize Shakespeare's plays, right? If it ends with a wedding, it's a comedy. And if it ends with a funeral, it's a tragedy. So we're all living tragedies, because we all end the same way, and it isn't with a Goddamn wedding.

Life is a comedy to those who think, a tragedy to those who feel.