It's never really fun to have to cry in a scene, or anything like that. I just try to put myself in the characters position, and that helps. It's never really fun, but at the same time, if you're having a really bad day, it's a great way to get out all of your frustration by doing a really angry or sad scene. That's always a good release.
One of the problems of this genre is that there are cliches everywhere, and you've got to be careful and watch out. Our rule with cliches is to either gently acknowledge them and make fun of them, or do something else. Milady is, in one sense, a villain because she does bad things.
The silliness-much of which is clearly intentional-is blended with some genuine grandeur. The Pixar touch is evident in the precision of the visual detail and in the wit and energy of Michael Giacchino's score, but the quality control that has been exercised over this project also has a curiously undermining effect. The movie eagerly sells itself as semitrashy, almost-campy fun, but it is so lavish and fussy that you can't help thinking that it wants to be taken seriously, and therefore you laugh at, rather than with, its mock sublimity.
God could create the world in six days because he didn't have to make it compatible with the previous version.
Go to Heaven for the climate, Hell for the company
What I like doing is being a different person. Every character is kind of different. So being able to be that person and then when you leave you're yourself again. So it's kind of weird to be like two different people, and I think that's kind of fun.
The bipartisan approach filtered up through my typewriter. I used to say, "Mad takes on both sides." We even used to rake the hippies over the coals. They were protesting the Vietnam War, but we took aspects of their culture and had fun with it. Mad was wide open. Bill loved it, and he was a capitalist Republican. I loved it, and I was a liberal Democrat. That went for the writers, too; they all had their own political leanings, and everybody had a voice. But the voices were mostly critical. It was social commentary, after all.
I think I live inside the plane! I never have time to unpack; I'm always leaving in two days again. I travel a lot, and at the beginning it was really fun. The first time I went inside a plane, I was 15 years old and I had so much fun. I like to travel all over the world and learn [about] new cultures. Not that many people have the opportunity to do that.
A third variety of drama ... begins as tragedy with scraps of fun in it ... and ends in comedy without mirth in it, the place of mirth being taken by a more or less bitter and critical irony.
'Warm in December, cold in June, you say?'
I don't suppose the water's changed at all.
You and I know enough to know it's warm
Compared with cold, and cold compared with warm.
But all the fun's in how you say a thing.
We come to recognize that playfulness, as a philosophical stance, can be very serious indeed; and moreover, that it possesses an unfailing capacity to arouse ridicule and hostility in those among us who crave certainty, reverence, and restraint.
And all over the world, the old literature, the popular literature, is the same. It consists of very dignified sorrow and very undignified fun. Its sad tales are of broken hearts; its happy tales are of broken heads.
Then she added in a sort of childish delight: 'We'll be poor, won't we? Like people in books. And I'll be an orphan and utterly free. Free and poor! What fun!' She stopped and raised her lips to him in a delighted kiss. 'It's impossible to be both together,' said John grimly. 'People have found that out. And I should choose to be free as preferable of the two.