American - Comedian | April 19, 1976 -
Whenever I've done jobs, whether it's an acting job or writing job, there's an aspect of it that feels like you help build your piece of it, and then you watch as someone takes it, and they finish building it.
Wyatt Cenac
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I think there's a lesson in everything.
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Getting a Grammy nomination for 'Brooklyn' meant a lot, especially because, as an album, it was one that was very personal to me but also one that I self-produced and had gone outside the label.
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Every impression that I do is just a terrible variation on an awful Bill Cosby impression. You're doing an Australian accent, but it's just Australian Bill Cosby; or that's just British Bill Cosby; that's Pirate Bill Cosby.
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A lot of the things I do deal with my race, but my race is who I am. I'm an American kid who grew up listening to predominantly hip-hop. I will talk about hip-hop as the music I grew up listening to, and I think sometimes people like to put it as, 'Oh, well, he's talking about black things.' And, yeah, they are, but that's my American identity.
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I make jokes. That's what I do.
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I wouldn't consider myself a traditional sitcom actor or someone you'd even think would be in a sitcom.
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I know for myself, every now and again on HBO, they'll show some of the young comedian specials from the '80s and early '90s, and it's just fascinating to watch those comedians - some of whom are people that are world-famous, like Chris Rock or Judd Apatow - to see the jokes that people had, but also, the way everything looked.
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There are plenty of people I've seen and thought that person is funny, or that person is really talented, and they've got something, but maybe the buying public doesn't see the same thing I see, or the stars don't align in the right way for them.
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I think hard work is definitely a huge thing, but there is something, if you want to call it luck or whatever - a window of opportunity - that is totally outside of your control, and it's that thing that will sometimes separate a good career from a great career.
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I feel like you could watch 'Grand Budapest' without sound, and it would still be funny.
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What's nice about a lot of Wes Anderson's films is that there's a patience to it. I think that patience brings out a lot more funny things that you would miss otherwise if you just had to make quick cuts and keep the pace, whatever that pace is that bigger budget comedies have to have.
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