Top 161 Sketch Quotes

To take on the jobs of tomorrow, students must become more than good test takers. They need to become makers who design, sketch, build, and prototype. And their classrooms will need more than a chalkboard and a set of textbooks.

I still have a desire to do some sketch comedy. My dream is to be on ‘SNL,’ to host ‘SNL.’

We also have the option of scanning in an image from outside the computer… a photo, or a sketch done with traditional tools; and we can then paint, manipulate, process, change, and further develop the image within the computer, watching our progress on the monitor.

I have always been doing sketch comedy since I was a kid because one of my mom’s boyfriends was an improv comedy guy so were doing skits all the time growing up.

Nobody wants to see sketch comedy that’s the same sketch they’ve seen time and time again, or that’s just a rehash of that thing.

I think, in comedy, you only hit about one or two great characters in your career. Sometimes my character will be just a sketch… what is the funniest situation to put this person in?

I guess I considered myself just sort of a sketch comedian, you know? Actual screenwriting hadn’t really occurred to me as a viable job – I didn’t really know anything about it.

You’re under the gun at all times because it’s live TV. A lot of time, between dress and air, you’re having to come with an entire ending to your sketch that gets an even better, bigger laugh – which is terrifying… People are filing into the audience, and you’re writing a new joke for the end of it.

Every movie I do, or when I’m on the sketch comedy show, I don’t really get into it until I have an outfit or something funny with my head or face or something.

‘One Leg Too Few’ by Peter Cook is a perfect sketch. The setting is ridiculous, the language is beautiful, and the performances make the most of every syllable and movement.

People get recruited from sketch groups and put on ‘Mad TV’ and ‘SNL,’ but those aren’t ensembles, they’re all-star teams.

There’s no job like ‘SNL.’ There’s no other job you go to where you’re like, ‘Oh, this is like that live, late-night sketch variety-musical show that shoots in, whatever it is, 10,000 feet of sound stage.’ There’s nothing like it.

I start with an idea in my head. I sketch it out quickly as a line drawing, using pencil. It never comes out quite right – usually a bit better than my mental picture.

In, like, seventh or eighth grade every day after school, my friend Andrew and I would watch ‘Wayne’s World.’ And I think it’s a great example of a sketch effectively turned into a movie and a story that really works with a good journey. Not easily accomplished, but such a good journey.

Every time I see Trump on TV these days, I’m waiting for him to burst out, ‘Live from New York, it’s Saturday Night!’ That would make sense to me – that this has all been one long ‘Saturday Night Live’ sketch.

With improv or a full length play – you know how you go to a theater, and after 10 minutes you say, ‘Oh, I don’t like this thing,’ but you don’t want to get up and leave? At a sketch show, it’s always something new every few minutes.

Some people think architecture is about the genius sketch; I don’t. Great architecture is a collaboration among a lot of people over a long period of time.

There’s sketch, improv, writing, acting, music, and badminton. Those are the seven forms of comedy.

I grew up surrounded by sketch comedy.

When we started doing sketch comedy – actually in ’91 in Chicago – making your own videos, which we did, took forever. It would take like, a year to make one video. It was just so difficult to edit and just do everything you had to do.

Usually in a Smosh sketch, we get 60 shots, 12 hours to shoot – we’re just going ‘bam, bam, bam.’

Even though ‘Kroll’ was a crazy sketch show with big characters, one of the things I’m proud of about the show is that the characters were always kind of coming from an emotionally honest place for whoever I thought that character was.

When I teach sketch writing, there’s still a beginning, middle and end.

A sketch is just a mini movie.

There was a sketch group at Emerson, and if you could believe it, we were the cool kids. That’s how Emerson rolls. I was a film major, but I spent most of my time doing that.

A little of the sketch character Pootie Tang went a long way on HBO’s now late, probably soon to be lamented ‘Chris Rock Show.’ So it’s surprising how much fun the character’s film debut, ‘Pootie Tang,’ is.

I sketch literally all the time; constructing a collection is like building a family – you have to have a certain balance. I isolate myself – I need to be concentrated for this so I leave Paris, I leave to a place without a phone.

I’d worked on music docs for years. It felt like writing a novel. By the time I got to Keith Richards, it felt like making a sketch.

On ‘Adam Ruins Everything’ we do the broadest sketch comedy possible. We do stuff where you can see it immediately and know it’s a joke – characters in big silly costumes; here’s Uncle Sam and he’s twiddling his fingers saying, ‘Oh, I’m naughty.’

Well, I loved variety in television, I loved sketch comedy. At ‘Saturday Night Live,’ I stayed almost seven years.

I feel like most standup comedians do it the way I did it, where you just go to open mics and cut your teeth. Sketch and improv – they take a lot of classes. It’s not unusual, the way I did it. It’s just that, with standup, no one knows how to start because there’s no book for it; there’s no place you can really go.

A part of my kind of design and inspiration ethos is that I carry around a leather notebook and I sketch in it, doodle in it, write notes in it, and I put pictures in it.

I once played Jennifer Lopez’s werewolf body double in a sketch. I don’t think anyone was shocked when the sketch got cut after dress rehearsal.

What I love is getting a new joke, or a premise like a sketch idea or a movie idea. That’s the best feeling for a comedian.

I’m not the same person as the character I do in my songs. She’s crazy! The ‘Daddy Song’ was the first sketch I ever wrote, especially on the guitar and everything – and definitely the most offensive. And absurd.

Usually I start with a concept, which I then sketch out so that I can get a feel for the character. The character doesn’t really become real to me until I draw them.

When I first started doing sketch comedy, I promised myself that if I were ever to have any success in this business, I wouldn’t hold back. Why get there and play it safe?

It takes a lot of time to write and put up a sketch show, but that’s part of who I am. I don’t think that ever goes away, that sensibility – especially coming from the Upright Citizens Brigade. That’s just who I am.

We did sketch comedy, performed live improv, and then we made the transition to TV with ‘Impractical Jokers.’

It’s absolutely surprising to me how well ‘The State’ has held up as far as people liking it and having fond memories of it, considering it’s a sketch show.

When I graduated, I was director of my school’s sketch comedy group, and I knew that I wanted to be writing and performing my own sketch comedy. It kind of made me want to do my own one-person sketch group.

I love drawing. It’s a passion of mine, and I’m a creative person. I always have my sketch book with me.

Besides gardening, I love to sketch and to sing.

A pen is different from the pad, the key, moving your fingers across a screen. I like both. I like to work on sketchbooks, big old white sketch paper. I like how that feels, and I like to put different media on it. Then there’s the phone, smartphone, iPad: It’s the new page, and it’s not the same page anymore.

Like in ‘Eastenders’ they can write coronavirus into the scripts, so people can actually be socially distancing. But if you’re in a sketch show where you’re on top of each other, doing stupid things, you can’t really make it work.

When I had a full-time job, I would write dialogue and sketch characters on my commute and during meetings. Now, I forsake showers and regular meals and stay at my desk for hours, taking breaks to drink tea and eat something sweet, usually cake.

The painting develops before my eyes, unfolding its surprises as it progresses. It is this which gives me the sense of complete liberty, and for this reason I am incapable of forming a plan or making a sketch beforehand.

Sketch comes from everyday life. You can see someone on the street, and it can turn into a five-minute sketch.

My experience is at The Groundlings Theater, where we created different characters and did sketch comedy. And sometimes the characters were outrageous, but they always came from a real place. So even working there, we had to create characters from the people that we knew.

I have a sketch of an idea and I never really talk about: perhaps do another jazz record, but with other elements involved.

The comedy I do on TV came from me being at art school and seeing Gilbert and George films, thinking they were hilarious. I was trying to do that, a sketch version of art, and it ended up on TV.

With Red Skelton, you could fall flat on your face and he’d do his sketch around it.

In sixth grade my teacher said that we had to do a talent show. You could sing or recite a poem… I went a wrote a little sketch for myself called ‘Our Big World’ about how many ways you could use a scarf.