I Identify As Funny Quotes

Is this Clarissa Fray?" The voice on the other end of the phone sounded familiar, though not immediately identifiable. Clary twirled the phone cord nervously around her finger. "Yeees?" "Hi, I'm one of the knife-carrying hooligans you met last night in Pandemonium? I"m afraid I made a bad impression and was hoping you'd give me a chance to make it up to-" "SIMON!" Clary held the phone away from her ear as he cracked up laughing. "That is so not funny!" "Sure it is. You just don't see the humor." "Jerk." Clary sighed, leaning up against the wall.

Oh yes? Can you identify yourself? -Certainly. I'd know me anywhere.

In homosexual sex you know exactly what the other person is feeling, so you are identifying with the other person completely. In heterosexual sex you have no idea what the other person is feeling.

Love is about bottomless empathy, born out of the heart’s revelation that another person is every bit as real as you are. And this is why love, as I understand it, is always specific. Trying to love all of humanity may be a worthy endeavor, but, in a funny way, it keeps the focus on the self, on the self’s own moral or spiritual well-being. Whereas, to love a specific person, and to identify with his or her struggles and joys as if they were your own, you have to surrender some of your self.

All problems with writing and performing come from fear. Fear of exposure, fear of weakness, fear of lack of talent, fear of looking like a fool for trying, for even thinking you could write in the first place. It's all fear. If we didn't have fear, imagine the creativity in the world. Fear holds us back every step of the way. A lot of studies say that despite all our fears in this country - death, war, guns, illness - our biggest fear is public speaking. What I am doing right now. And when people are asked to identify which kind of public speaking they are most afraid of, they check the improvisation box. So improvisation is the number-one fear in America. Forget a nuclear winter or an eight-point nine earthquake or another Hitler. It's improv. Which is funny, because aren't we just improvising all day long? Isn't our whole life just one long improvisation? What are we so scared of?

I’ve been practicin’ my morgue face for when I have to go identify your body. Wanna see it?” Nick said then he arranged his face in this kind of mock, sad, shocked look and slowly shook his head like a world with vigilante social workers mystified him.

I don’t understand why people keep pushing that “Don’t be some random person. BE UNIQUE” message. You’re already incredibly unique. Everyone is incredibly unique. That’s why the police use fingerprints to identify people. So you’re incredibly unique … but in the exact same way that everyone else is. (Which, admittedly, doesn’t really sing and is never going to make it on a motivational T-shirt.) So none of us are unique in being unique because being unique is pretty much the least unique thing you can be, because it comes naturally to everyone. So perhaps instead of “BE UNIQUE” we should be saying, “Be as visibly fucked up as you want to be because being unique is already taken.” By everyone, ironically enough. Or maybe we should change the message to “Don’t just be some random person. Be the MOST random person.

I still carry a picture in my mind of an abuser who is a rageaholic, a monster, a person visibly and uncontrollably angry. Someone easily identifiable as a “bad guy.” I may even have operated under the idea that my own gut instincts would alert me to such a man. And what strikes me immediately—in fact, deeply unsettles me in a way—is how incredibly normal they all seem. Like a bunch of guys I’d go have a beer with. They are charming. They are funny, gregarious, shy, high-strung. Good-looking or not, well-dressed or not. They are Everyman. One of the hallmarks of domestic violence, Adams told me, is this false idea that abusers are somehow angry generally; rather, their anger is targeted—at a partner or at the partner’s immediate family. As a result, friends and acquaintances of abusers are often surprised to hear that they committed an assault.

And you know what y’all always say—we all look alike. But it’s a funny thing—we all look alike, but you can positively identify us in that time of trouble.

Self-identify your gender? Why not self-identify your species, too? I'm a dog now.

Tildy warned us the Winter King could identify a person by scent,” Summer said. “Since he thinks you’re Autumn, Tildy said the wedding night should take place here, in Autumn’s bedroom, where her scent is already absorbed into everything.” “She added the flowers and incense to help mask your own scent,” Spring added, “and deliberately arranged the candles so he won’t be able to get a good look at your face so long as you keep to the bed.” “Where’s Autumn?” she asked. “Here.” Khamsin turned. Her sister emerged from the connecting wardrobe room wrapped in a forest green satin robe. Her long auburn hair spilled around her shoulders in ringlets. “Scenting up your nightclothes.” Autumn grimaced. “I know I’m clean. I bathed this morning, but there’s still something wrong about rolling on sheets and rubbing myself on clothes all day. It just seems so . . . so . . . dirty.” Despite everything, Khamsin laughed. For some reason, Autumn’s complaint struck her as funny. “You rolled on the sheets?” “Tildavera suggested it.

These robots are literally inhuman, and yet I react no differently to their stumblings and topplings than I would to the pratfalls of a fellow human. I don’t imagine I would laugh at the spectacle of a toaster falling out of an SUV, or a semiautomatic rifle pitching over sideways from an upright position, but there is something about these machines, their human form, with which it is possible to identify sufficiently to make their falling deeply, horribly funny.

While writing the article that reported these findings, Amos and I discovered that we enjoyed working together. Amos was always very funny, and in his presence I became funny as well, so we spent hours of solid work in continuous amusement. The pleasure we found in working together made us exceptionally patient; it is much easier to strive for perfection when you are never bored. Perhaps most important, we checked our critical weapons at the door. Both Amos and I were critical and argumentative, he even more than I, but during the years of our collaboration neither of us ever rejected out of hand anything the other said. Indeed, one of the great joys I found in the collaboration was that Amos frequently saw the point of my vague ideas much more clearly than I did. Amos was the more logical thinker, with an orientation to theory and an unfailing sense of direction. I was more intuitive and rooted in the psychology of perception, from which we borrowed many ideas. We were sufficiently similar to understand each other easily, and sufficiently different to surprise each other. We developed a routine in which we spent much of our working days together, often on long walks. For the next fourteen years our collaboration was the focus of our lives, and the work we did together during those years was the best either of us ever did. We quickly adopted a practice that we maintained for many years. Our research was a conversation, in which we invented questions and jointly examined our intuitive answers. Each question was a small experiment, and we carried out many experiments in a single day. We were not seriously looking for the correct answer to the statistical questions we posed. Our aim was to identify and analyze the intuitive answer, the first one that came to mind, the one we were tempted to make even when we knew it to be wrong. We believed—correctly, as it happened—that any intuition that the two of us shared would be shared by many other people as well, and that it would be easy to demonstrate its effects on judgments.

In 1999, authors Joshua Piven and David Borgenicht released The Worst-Case Scenario Survival Handbook. Providing humorous but real-life instructions for what to do in unusually dire circumstances, the book advertised itself as “the essential companion for a perilous age.” Both frightening and funny, it offered pithy chapters on how to perform a tracheotomy, identify a bomb, land a plane, survive if your parachute fails to open, deal with a charging bull, jump from a building into a dumpster and escape from killer bees, among other things. Someone gave me a copy of The Worst-Case Scenario Survival Handbook when it came out. I shrugged and said, “Meh.” It sold ten million copies.

Did I interrupt something? A sordid little tryst, perhaps?” “You must be joking.” Cass was in no mood for humor. Besides, the closest she’d ever been to a tryst was when he’d fallen on top of her in the street earlier that day. “Always. Sadly, you don’t seem like the type of girl who would be up for a midnight…encounter.” Falco’s eyes drifted downward. “Too bad.” Cass realized her cloak had fallen open, exposing the white nightgown she wore underneath. She pulled the velvet fabric tight around her body. Then the shrubbery rippled once more with unfamiliar movement. Cass’s heart froze. “We should get out of here,” she said. “It’s not safe.” “Not safe?” Falco raised an eyebrow. “Why? Because it’s dark and you might accidentally trip over your own two feet? I feel quite safe. In fact, I was just settling in to do some reading.” Cass furrowed her brow. “Reading?” Falco wagged her journal in front of her. “This is yours, I presume.” A slow smile spread across his face. “Let’s find out exactly what you’ve been doing, shall we?” “Give it back!” Cass reached for the journal, but Falco easily dodged her. He opened the leather-bound book to a random page and cleared his throat. Clutching a hand to his chest, he pretended to read aloud in a high-pitched voice. “Oh, how I love the way his fingers explore my soft flesh. The way his eyes see into my very soul.” This time, Cass managed to snatch the book out of his hands. “That is not what it says.” “I guess that means you won’t be keeping me warm tonight?” Falco quirked an eyebrow. Before she could muster up a response, he laughed. “Then again, the accommodations probably wouldn’t meet your standards. You’ve probably never slept on anything but the finest satins, have you?” Cass hoped the darkness camouflaged her scarlet cheeks. Who was this boy to talk to her the way he did? “Is that why you’re here? Looking for a date?” Cass gestured toward a row of pointed headstones. “I do believe you’re in luck. I see some ladies who won’t be able to refuse you.” The words flew out of her mouth before she could rethink them. “Funny. And correct. Sort of. I was actually just looking for a place to get a little rest.” For a second, the smile dropped from his face, and an expression passed across it that Cass couldn’t identify. “Sleep in a graveyard?” Cass frowned. “You can’t be serious.

COLE STOPPED by his office that morning to pick up the calling logs before heading on to stay with the girl. His friend at the phone company had faxed twenty-six pages of outgoing and incoming phone numbers, some of which were identified, but many of which were not. Cole would have to go through the numbers one by one, but the girl would probably help. Cole liked the girl. She was funny and smart and laughed at his jokes. All the major food groups. When he let himself in, she was stretched out on the couch, watching TV with the iPod plugged in her ears. Cole said, “How can you watch TV and listen to that at the same time?” She wiggled his iPod. “Did they stop making music in 1990?” You see? Funny. “I have to make a couple of calls, then I want you to help me with something.” She sat up, interested. “What?” “Phone numbers. We have to build a phone tree tracing the calls to and from the phones Pike found. We’ll trace the calls from phone to phone until we identify someone who can help us find Vahnich. Sound like fun?” “No.” “It’s like connect the dots. Even you can do it.” She gave him the finger. Cole thought she was great.

I giggle a little at that, then firmly cut it out. No giggling. He is not funny. He is stupid and hypocritical, Zelda. Never identify with the bad guy. Unless it’s Loki from Thor. Then identify the pants off of him.

I couldn't identify exactly what I was so angry about other than the fact that Carson had managed to tilt my world on its axis–again. I should have bolted out of that hotel like a bat out of hell the second I laid eyes on him, standing there in all his muscled, male beauty. He was the devil. A sometimes sweet, funny devil, true. But wasn't that just like Lucifer himself? That's how he lured you in, ready to give up your very soul for one taste of those sinful lips, flashing that damn dimple for extra measure.

A man named Dennis Newton was on trial for armed robbery in Oklahoma City, when he decided to fire his lawyer. While Newton was defending himself in court, the woman who was working as a clerk at the convenience store that he supposedly robbed, was put on the stand.   When the woman identified Newton as the robber, Newton quickly jumped up and screamed at the woman, calling her a liar. He then screamed out "I shoulda blown your f***ing head off." Newton soon realized what he said, and quickly followed the comment with "....If I'da been the one that was there." ...Not that it mattered at that point, the jury was already convinced of his guilt.

You can't stop people from morphing the truth. It's human nature. I blow-dry my hair, put on make-up, wear high-heels. I've laughed at jokes told by men who simply weren't that funny. We create an outer identify to hide our innate vulnerability. But even deeper, it springs from the most primal desire we harbour.

It’s often said too that autistics struggle to understand humor. In fact, we can be very funny. I’ve laughed until I’ve cried with fellow autistics. Admittedly, what I find funny can be very different from the things a neurotypical might find funny.

When I had been around Harlem long enough to show signs of permanence, inevitably I got a nickname that would identify me beyond any confusion with two other red-conked and well-known “Reds” who were around. I had met them both; in fact, later on I’d work with them both. One, “St. Louis Red,” was a professional armed robber. When I was sent to prison, he was serving time for trying to stick up a dining car steward on a train between New York and Philadelphia. He was finally freed; now, I hear, he is in prison for a New York City jewel robbery. The other was “Chicago Red.” We became good buddies in a speakeasy where later on I was a waiter; Chicago Red was the funniest dishwasher on this earth. Now he’s making his living being funny as a nationally known stage and nightclub comedian. I don’t see any reason why old Chicago Red would mind me telling that he is Redd Foxx.

Can we ever really know to what extent this man [Mark Twain] or his book [Adventures of Huckleberry Finn] was, or is, racist? When we identify racism in the book, aren't we really just identifying racism in the culture out of which it came? Is it fair to expect Twain to have vaulted himself out of his own time and place and arrive, clean-booted and upright, in our own? Isn't the book still funny and deep? Aren't I actually enjoying it? How does one do the complicated math of Ultimate Racism: If we determine that, relative to our own time, Twain was a 40 percent racist, while relative to his own, he was only a 12 percent racist, or was in fact a 0 percent racist--what do we know, really?

Villalobos had always been eager to work in law enforcement. When he was in high school, he assembled a group of boys from all grade levels and invited them to his house every Wednesday. Villalobos’ club revolved around hunting down fugitives on the F.B.I.’s Most Wanted list. He led weekly research presentations that narrowed the list down to felons who were suspected to be within fifty miles of their vicinity. Villalobos held exams for his club members, testing their knowledge on how to react if they caught a criminal. He also trained them to identify what the criminals looked like with certain disguises and how to predict their next crimes and behaviors. All the boys were into it. And they trusted their leader. The amateur intelligence squad never caught any top criminals but inadvertently located the whereabouts of several robbers and proudly shared their intel with their local police station.

The number one thing a good logline must have, the single most important element, is: irony. My good friend and former writing partner, the funny and fast-typing Colby Carr, pointed this out to me one time and he’s 100% correct. And that goes for whether it’s a comedy or a drama. A cop comes to L.A. to visit his estranged wife and her office building is taken over by terrorists – Die Hard A businessman falls in love with a hooker he hires to be his date for the weekend – Pretty Woman I don’t know about you, but I think both of these loglines, one from a drama, one from a romantic comedy, fairly reek of irony. And irony gets my attention. It’s what we who struggle with loglines like to call the hook, because that’s what it does. It hooks your interest. What is intriguing about each of the spec sales I’ve cited above is that they, too, have that same ironic touch. A holiday season of supposed family joy is turned on its cynical head in the 4 Christmases example. What could be more unexpected (another way to say “ironic”) for a new employee, instead of being welcomed to a company, to be faced with a threat on his life during The Retreat? What Colby identified is the fact that a good logline must be emotionally intriguing, like an itch you have to scratch. A logline is like the cover of a book; a good one makes you want to open it, right now, to find out what’s inside. In identifying the ironic elements of your story and putting them into a logline, you may discover that you don’t have that. Well, if you don’t, then there may not only be something wrong with your logline — maybe your story’s off, too. And maybe it’s time to go back and rethink it. Insisting on irony in your logline is a good place to find out what’s missing. Maybe you don’t have a good movie yet.

All problems with writing and performing come from fear. Fear of exposure, fear of weakness, fear of lack of talent, fear of looking like a fool for trying, for even thinking you could write in the first place. It’s all fear. If we didn’t have fear, imagine the creativity in the world. Fear holds us back every step of the way. A lot of studies say that despite all our fears in this country—death, war, guns, illness—our biggest fear is public speaking. What I am doing right now. And when people are asked to identify which kind of public speaking they are most afraid of, they check the improvisation box. So improvisation is the number-one fear in America. Forget a nuclear winter or an eight point nine earthquake or another Hitler. It’s improv. Which is funny, because aren’t we just improvising all day long? Isn’t our whole life just one long improvisation? What are we so scared of?’ No.

I wanted to climb into her world and live in it with her. She was beautiful and kind and funny and identified as “certified crazy.” I learned that certified crazy meant nothing to lose, nothing to be afraid of, nothing to be self-conscious about.