
Peter Palmer, "The secret is out… so don't miss out". Evening Post (July 22, 2004)
Peter Palmer, "The secret is out… so don't miss out". Evening Post (July 22, 2004)
The Sorrow of Odin the Goth (p. 343)
Time Patrol
"Literature and Post-History" (1965).
Language and Silence: Essays 1958-1966 (1967)
3:58-4:04
2017 New Year's Resolutions for Millennials
Source: Words and Things (1959), p. 138
"Interview: Steve Martin and Claire Danes" by Jeff Otto at IGN.com (19 October 2005) http://movies.ign.com/articles/659/659752p1.html
http://aspecialthing.com/forum/f42/flashback-06-louis-c-k-interview-14987/ (2006)
Variant translations:
What we possess and what gives us strength is our joy in life, our interest in life in all its amoral facets. This is also the foundation for today's art. We do not even know the aesthetic laws.
We are not disillusioned because we have no illusions; we have never had any. What we have, and what constitutes our strength, is our joy in life, in all of its moral and amoral manifestations.
1940 - 1948, Intimate Banalities' (1941)
“Comedy, like sodomy, is an unnatural act.”
The Times, June 9, 1969.
Prelude.
The Egoist http://www.gutenberg.org/dirs/etext99/egost11.txt (1879)
Review http://www.reelviews.net/php_review_template.php?identifier=595 of Epic Movie (2007).
One-star reviews
Interviews and profiles
Source: William Langley, "Profile: Sir Tom Stoppard," The Telegraph (2006-11-06) http://www.telegraph.co.uk/opinion/main.jhtml;jsessionid=W4GGMOS2UYBMJQFIQMFSFFWAVCBQ0IV0?xml=/opinion/2006/06/11/do1107.xml
Preofections - Irene Dunne, by Elizabth Wilson; Silver Screen (November 1936) http://www.irenedunnesite.com/press/silver-screen-november-1936/.
The Diary of Samuel Marchbanks (1947)
From scratch to success, 2006-08-23 http://www.hinduonnet.com/thehindu/2001/06/08/stories/0908022a.htm,
Source: Quotes of Salvador Dali, 1961 - 1970, Diary of a Genius (1964), p. 189 - Prologue
before you decide to listen to it and like it or not.
Interview for Comedy Central.
"Hot Seat", Time Out New York; Issue 565: July 27–August 2, 2006
“I won't ever get on stage at a comedy club when people know about it.”
John at his MySpace blog
2006). "John Mayer, Stand Up Comedian?" http://ccinsider.comedycentral.com/cc_insider/2006/06/john_mayer_stan.html Comedy Central Insider (accessed August 15, 2006
"A Crash Course in Playwriting" (1993) http://education.alanayckbourn.net/EducationInterviewsPlaywriting.htm.
“The only rules comedy can tolerate are those of taste, and the only limitations those of libel.”
"The Duchess and the Bugs", 'Lanterns & Lances (1961). The piece was "a response" to an award Thurber received from the Ohioana Library Association in 1953.
From Lanterns and Lances
“Comedy is easy. Intrigue is hard.”
Source: Fugitives of Chaos (2006), Chapter 3, “Circuitous Acts” (p. 52)
Quoted in Manchester Evening News, http://www.manchestereveningnews.co.uk/entertainment/comedy/s/234/234894_dodds_bolton_bonus.htmlDodd's Bolton bonus, Natalie Anglesey. (2008-04-28)
Lauren Keeport (February 3, 1998) "Scandal feeds maelstrom of Clinton jokes - 'Monicagate' a windfall for TV wits", The Washington Times, p. A2.
Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Seven, p. 169
http://www.newyorker.com/archive/2006/04/24/060424ta_talk_friend
On 30 Rock
Metro Weekly interview (2006)
Context: It's a more ridiculing, divisive humor today, especially with the advent of political incorrectness, which is a license to be as ridiculing and awful about certain groups... There should be room for everybody, absolutely, and then the culture is going to decide the prevailing weight. We can't decide it individually. Nobody is here without a reason. … I always had a different sensibility. I like a huge range of comedy — from broad and farcical, the most sensitive, the most understated — but I always wanted my comedy to be more embracing of the species rather than debasing of it.
Source: The Confessions of Aleister Crowley (1929), Ch. 7.
Context: My mother was naturally a rather sensual type of woman and there is not doubt that sexual repression had driven her as nearly as possible to the borders of insanity.
My cousin Agnes had a house in Dorset Square. My mother took me to tea there one afternoon. A copy of Dr. Pascal was in the room. The word "Zola" caught my mother's eye and she made a verbal assault of hysterical fury upon her hostess. Both women shouted and screamed at each other simultaneously, amid floods of tears. Needless to say, my mother had never read a line of Zola — the name was simply a red rag to a cow.
This inconsistency, by the way, seems universal. I have known a printer object to set up "We gave them hell and Tommy", while passing unquestioned all sorts of things to which exception could quite reasonably be taken by narrow-minden imbeciles. The censor habitually passes what I, who am no puritan, consider nauseating filth, while refusing to license Oedipus Rex, which we are compelled to assimilate at school. The country is flooded with the nasty pornography of women writers, while there is an outcry against epoch-making masterpieces of philosophy like Jurgen. The salacious musical comedy goes its libidinous way rejoicing, while Ibsen and Bernard Shaw are on the black list. The fact is, of course, that the puritan has been turned by sexual repression into a sexual pervert and degenerate, so that he is insane on the subject.
On The Comedy of Errors, in Ch. XV.
Biographia Literaria (1817)
Context: The myriad-minded man, our, and all men's, Shakespeare, has in this piece presented us with a legitimate farce in exactest consonance with the philosophical principles and character of farce, as distinguished from comedy and from entertainments. A proper farce is mainly distinguished from comedy by the licence allowed, and even required, in the fable, in order to produce strange and laughable situations. The story need not be probable, it is enough that it is possible.
8 November 1852
Journal Intime (1882), Journal entries
Context: My privilege is to be spectator of my life drama, to be fully conscious of the tragi-comedy of my own destiny, and, more than that, to be in the secret of the tragi-comic itself, that is to say, to be unable to take my illusions seriously, to see myself, so to speak, from the theater on the stage, or to be like a man looking from beyond the tomb into existence. I feel myself forced to feign a particular interest in my individual part, while all the time I am living in the confidence of the poet who is playing with all these agents which seem so important, and knows all that they are ignorant of. It is a strange position, and one which becomes painful as soon as grief obliges me to betake myself once more to my own little rôle, binding me closely to it, and warning me that I am going too far in imagining myself, because of my conversations with the poet, dispensed from taking up again my modest part of valet in the piece. Shakespeare must have experienced this feeling often, and Hamlet, I think, must express it somewhere. It is a Doppelgängerei, quite German in character, and which explains the disgust with reality and the repugnance to public life, so common among the thinkers of Germany. There is, as it were, a degradation a gnostic fall, in thus folding one's wings and going back again into the vulgar shell of one's own individuality. Without grief, which is the string of this venturesome kite, man would soar too quickly and too high, and the chosen souls would be lost for the race, like balloons which, save for gravitation, would never return from the empyrean.
“I think comedy is the most difficult thing in the world, I really do.”
New York Times interview (1985)
Context: I think comedy is the most difficult thing in the world, I really do. One can always lament, you know — but to laugh in the face of life, that's very hard. And for me the great tragedian should also be a great comedian.
“This type is the grotesque; its new form is comedy.”
Preface to Cromwell (1827) http://www.bartleby.com/39/41.html
Context: Behold, then, a new religion, a new society; upon this twofold foundation there must inevitably spring up a new poetry. Previously following therein the course pursued by the ancient polytheism and philosophy, the purely epic muse of the ancients had studied nature in only a single aspect, casting aside without pity almost everything in art which, in the world subjected to its imitation, had not relation to a certain type of beauty. A type which was magnificent at first, but, as always happens with everything systematic, became in later times false, trivial and conventional. Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. It will ask itself if the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilation; if art has the right to duplicate, so to speak, man, life, creation; if things will progress better when their muscles and their vigour have been taken from them; if, in short, to be incomplete is the best way to be harmonious. Then it is that, with its eyes fixed upon events that are both laughable and redoubtable, and under the influence of that spirit of Christian melancholy and philosophical criticism which we described a moment ago, poetry will take a great step, a decisive step, a step which, like the upheaval of an earthquake, will change the whole face of the intellectual world. It will set about doing as nature does, mingling in its creations — but without confounding them — darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected.
Thus, then, we see a principle unknown to the ancients, a new type, introduced in poetry; and as an additional element in anything modifies the whole of the thing, a new form of the art is developed. This type is the grotesque; its new form is comedy.
“I am quite content, in this Comedy of Appearances, to follow the old romancers' lead.”
"To Sinclair Lewis : A Foreword"
Figures of Earth (1921)
Context: I am quite content, in this Comedy of Appearances, to follow the old romancers' lead. "Such and such things were said and done by our great Manuel," they say to us, in effect: "such and such were the appearances, and do you make what you can of them."
I say that, too, with the addition that in real life, also, such is the fashion in which we are compelled to deal with all happenings and with all our fellows, whether they wear or lack the gaudy name of heroism.
Review http://www.rogerebert.com/reviews/pleasantville-1998 of Pleasantville (1 October 1998)
Reviews, Four star reviews
Context: In the twilight of the 20th century, here is a comedy to reassure us that there is hope — that the world we see around us represents progress, not decay. Pleasantville, which is one of the year's best and most original films, sneaks up on us. It begins by kidding those old black-and-white sitcoms like "Father Knows Best," it continues by pretending to be a sitcom itself, and it ends as a social commentary of surprising power.
…
The film observes that sometimes pleasant people are pleasant simply because they have never, ever been challenged. That it's scary and dangerous to learn new ways. The movie is like the defeat of the body snatchers: The people in color are like former pod people now freed to move on into the future. We observe that nothing creates fascists like the threat of freedom.
Pleasantville is the kind of parable that encourages us to re-evaluate the good old days and take a fresh look at the new world we so easily dismiss as decadent. Yes, we have more problems. But also more solutions, more opportunities and more freedom. I grew up in the '50s. It was a lot more like the world of Pleasantville than you might imagine. Yes, my house had a picket fence, and dinner was always on the table at a quarter to six, but things were wrong that I didn't even know the words for.
That event predictably leads to the magical moment of their first kiss. Please. I fall ALL the time. You know who comes and gets me? The bouncer.
My Horizontal Life: A Collection of One-Night Stands (2005)
Campbell follows with a quote from Ovid's Metamorposes, "All things are changing; nothing dies..."
Chapter 2
The Hero with a Thousand Faces (1949)
Context: The happy ending of the fairy tale, the myth, and the divine comedy of the soul, is to be read, not as a contradiction, but as a transcendence of the universal tragedy of man.... Tragedy is the shattering of the forms and of our attachment to the forms... the two are the terms of a single mythological theme... the down-going and the up-coming (kathados and anodos), which together constitute the totality of the revelation that is life, and which the individual must know and love if he is to be purged (katharsis=purgatorio) of the contagion of sin (disobedience to the divine will) and death (identification with the mortal form).
"Jane Espenson - Interviewed at the Buffy soundstage" at BBC (23 August 2001) http://www.bbc.co.uk/cult/buffy/interviews/espenson/printpage.html
" Accusations of cultural appropriation gone wild: Canadian comedy club bars white comedian with dreadlocks https://whyevolutionistrue.wordpress.com/2019/01/16/accusations-of-cultural-appropriation-gone-wild-canadian-comedy-club-bars-white-comedian-with-dreadlocks/" January 16, 2019
Priyanka Chopra
Actresses Talk About Salman
Source: http://www.india-forums.com/forum_posts.asp?TID=476977
April, 2017 in season 2 episode 2 of the NRATV series Freedom's Safest Place and June, 2017 excerpted as a video advertisement for the NRA ([Dana, Loesch, The Violence of Lies, NRATV, Freedom's Safest Place, April 2017, May 20, 2019, https://www.nratv.com/episodes/freedoms-safest-place-season-2-episode-2-the-violence-of-lies]; [N.R.A. Ad Condemning Protests Against Trump Raises Partisan Anger, Jonah, Engel Bromwich, June 29, 2017, The New York Times, https://www.nytimes.com/2017/06/29/us/nra-ad-trump-protests.html]; [Secrecy, Self-Dealing, and Greed at the N.R.A., Mike, Spies, April 17, 2019, The New Yorker, https://www.newyorker.com/news/news-desk/secrecy-self-dealing-and-greed-at-the-nra]; [NRA advert calling on Americans to 'fight lies' called 'an open call to violence', Emily, Shugerman, June 29, 2017, The Independent, https://www.independent.co.uk/news/world/americas/nra-advert-video-watch-guns-trump-fight-lies-violence-fist-truth-a7815231.html]; [NRA video declares war on liberals, critics say, William, Cummings, USA Today, June 29, 2017, https://www.usatoday.com/story/news/politics/onpolitics/2017/06/30/controversial-nra-video/441506001/]; Live-Streaming the Apocalypse With NRATV, Parker, James, June 2018, The Atlantic https://www.theatlantic.com/magazine/archive/2018/06/nratv-live-streaming-the-apocalypse/559139/,; [N.R.A. Ad Condemning Protests Against Trump Raises Partisan Anger, Bromwich, Jonah Engel, June 29, 2017, The New York Times, May 20, 2019, en-US, 0362-4331, https://www.nytimes.com/2017/06/29/us/nra-ad-trump-protests.html]; [The NRA recruitment video that is even upsetting gun owners, Peter, Holley, June 29, 2017, May 20, 2019, The Washington Post, https://www.washingtonpost.com/news/post-nation/wp/2017/06/29/the-nra-recruitment-video-that-is-even-upsetting-gun-owners/]; [A Chilling National Rifle Association Ad Gaining Traction Online Appears to Be 'An Open Call to Violence', Business Insider, May 20, 2019, Natasha, Bertrand, June 29, 2017, http://www.businessinsider.com/national-rifle-association-ad-call-to-violence-2017-6]; [The NRA just released a violent, terrifying ad, Matthew, Rozsa, June 29, 2017, May 24, 2019, Salon, https://www.salon.com/2017/06/29/the-nra-just-released-a-violent-terrifying-ad/]; [How the N.R.A. Manipulates Gun Owners and the Media, Michael, Luo, w:Michael Luo, August 11, 2017, May 23, 2019, The New Yorker, https://www.newyorker.com/news/news-desk/how-the-nra-manipulates-gun-owners-and-the-media]; [The NRA’s New Scare Tactics, Laura, Reston, October 3, 2017, The New Republic, https://newrepublic.com/article/145001/nra-new-scare-tactic-gun-lobby-remaking-itself-arm-alt-right])
Source: The Dietetics of the Soul; Or, True Mental Discipline (1838), p. 125
[NewsBank, Nye: We must all save the Earth, The Madison Courier, Madison, Indiana, February 21, 2009, Pat Whitney]
Ron Howard, Nikki Finke, Editor in Chief. "EXCLUSIVE: Ron Howard On Andy Griffith". Deadline.com. Retrieved 2014-04-16.
Interview with Uwe Boll http://www.ubyssey.bc.ca/2007/11/23/worlds-worst-filmmaker/.
2000s
And I was totally caught off-guard by the amount of good reviews and bad reviews Glamorama elicited. I’ve stopped guessing because I’m always wrong. And quite honestly: I don’t care. Writing the book is the main thing. Waiting for a reaction: a waste of time. But, obviously, I hope people respond to the book in a favorable way. I don’t want people to dislike it. But I don’t really mind if they do.
http://www.randomhouse.com/catalog/display.pperl?isbn=9780307264305&view=auqa
“Comedy has to be done en clair.”
You can't blunt the edge of wit or the point of satire with obscurity. Try to imagine a famous witty saying that is not immediately clear.
Letter, March 11, 1954, to Malcolm Cowley. Collecting Himself (1989)
Letters and interviews
On his show Sunnyside in “Kal Penn Talks Putting A Twist On Immigration Narrative With ‘Sunnyside’ & Chances For Another ‘Harold And Kumar’ Movie” https://deadline.com/2019/09/kal-penn-sunnyside-nbc-immigration-comedy-harold-and-kumar-1202743466/ in Deadline (2019 Sep 26)
“Comedy is more personal than food.”
Comedians in Cars Getting Coffee (2012 — Present), Season 3 (2014)
“I don't think I felt "at home" on Earth, as a human, until I walked into a comedy club.”
Comedians in Cars Getting Coffee (2012 — Present), Season 3 (2014)
On including the world of nonprofits in Insecure in “'Awkward' And 'Insecure' Get To The Root Of Writer Issa Rae's Humor” https://www.npr.org/2018/09/03/643673530/awkward-and-insecure-get-to-the-root-of-writer-issa-raes-humor] in NPR (2018 Sep 3)
“The Hustle” Composer Anne Dudley On Her Creative Process And Storytelling Through Music: BUST Interview https://bust.com/movies/196048-anne-dudley-thehustle-interview.html (2019)
Interview with Nathaniel Parker https://www.bbc.co.uk/mediacentre/mediapacks/mrsjones/nathaniel
“Building a gazebo in the middle of the civil war, that'd be like doing stand-up comedy now.”
Kid Gorgeous (2018)
LIFE IN 2D: DAN POVENMIRE ON THE GREATEST CARTOONS EVER, SALSA MUSIC, AND NOT BEING A JERK https://www.houseofspeakeasy.org/dan-povenmire-interview/ (November 7, 2014)
HuffPost Article - Interview with Lynn Shelton, Director of Humpday - 25 May 2011 https://www.huffpost.com/entry/interview-with-lynn-shelt_b_227673 - Archive https://web.archive.org/web/20210727183525/https://www.huffpost.com/entry/interview-with-lynn-shelt_b_227673
Source: The Margarets (2007), Chapter 28, “I Am Margaret/On Tercis” (p. 238)
Interview with Joe Utichi, RT-UK: Mike Myers Interview https://editorial.rottentomatoes.com/article/rtuk-mike-myers-interview/, rottentomatoes.com, 27 June 2007.
Source: All About Me (New York: Ballantine Books, 2021), p. 451
[Paulson, Dave, John Crist: A Christian comedian who's gently poking fun at faith, https://www.tennessean.com/story/entertainment/2019/04/11/john-crist-christian-comedian-nashville-comedy-festival-ryman-auditorium/3215394002/, 6 September 2019, The Tennessean, April 11, 2019, en]