Quotes of All Topics . Occasions . Authors
The most creative people have learned to tolerate the slight discomfort of indecision for much longer and so, just because they put in more pondering time, their solutions are more creative.
You can't make Christ funny. He's self-aware, he's too flexible within the situation. It's rigidity, it's when the ego takes over and the behavior becomes inappropriate that it becomes funny.
I was very sad to hear of the death of Ronnie Barker, who was such a warm, friendly and encouraging presence to have when I started in television. He was also a great comic actor to learn from.
The trouble with the British is that they are not interested in ideas. If Jesus came back today and offered to speak for an hour on British television, they would say, "What! Another talking head?
This is the extraordinary thing about creativity: If just you keep your mind resting against the subject in a friendly but persistent way, sooner or later you will get a reward from your unconscious.
Creativity is not an ability that you either have or do not have. It is, for example, and this may surprise you, absolutely unrelated to IQ, provided you're intelligent above a certain minimal level.
As Daniel Levitin writes, our brain is a "giant pattern detector." If we read something that coincides with what we already believe we're more likely to give it credence, while the opposite is not true.
I had a very, very difficult relationship with my mother, who was supremely self-centred. She was hilariously self-centred. She did not really take interest in anything that didn't immediately affect her.
If I can get you to laugh with me, you like me better, which makes you more open to my ideas. And if I can persuade you to laugh at the particular point I make, by laughing at it you acknowledge its truth.
I just think that sometimes we hang onto people or relationships long after they've ceased to be of any use to either of you. I'm always meeting new people, and my list of friends seems to change quite a bit.
I could take an umbrella and balance it on my chin or on my foot. And I just got interested in that kind of thing. And as I played games more and more and got stronger physically, I just became more coordinated.
British press think entirely in clichés, and when they do come across creative work, they think that it must be based on something, because they don't realize that you can create things that aren't based on things.
When the target audience is American teenage kids, you can have problems. My generation prized really fine acting and writing. Sometimes you have to go back to the basic principles which underpin great visual comedy.
I'm struck by how laughter connects you with people. It's almost impossible to maintain any kind of distance or any sense of social hierarchy when you're just howling with laughter. Laughter is a force for democracy.
I think there are so many activities going on, like mountaineering. You know, you would pay good money not to have to do that, and yet there are people racing out who want to spend their spare time clambering up rocks.
I can't tell you how scary it can be walking onto a movie and suddenly joining this family - it's like going to somebody else's Christmas dinner; everyone knows everyone and you're not quite sure what you're supposed to sit.
My compulsion to always be working has become less strong and my current business is purely down to this enormous alimony. If I wasn't doing this I'd be making documentaries about wildlife and other subjects that interest me.
Technology frightens me to death. It's designed by engineers to impress other engineers, and they always come with instruction booklets that are written by engineers for other engineers - which is why almost no technology ever works.
A lot of humour is about just enjoying life and spontaneity and because you make a joke that puts somebody down - we're always teasing each other. It's with affection. It's nasty teasing that we - not all teasing; nasty teasing you cut out.
I can't tell you how scary it can be walking onto a movie and suddenly joining this family, it's like going to somebody else's Christmas dinner, everyone knows everyone, and you're there and you're not quite sure what you're supposed to be doing.
The British fans are liable to suddenly be talking to you about something that you don't know how you got into the conversation. I think it's something to do with the fact that they've been watching you for so many years sort of you telling your story.
I'm not sure what's going on in Britain. I don't know what's going on in London. Because London is no longer an English city, and that's how they got the Olympics. I mean, they said, "We're the most cosmopolitan city on Earth," but it doesn't feel English.
Because, as we all know, it’s easier to do trivial things that are urgent than it is to do important things that are not urgent, like thinking. And it’s also easier to do little things we know we can do than to start on big things that we’re not so sure about.
I think it's because in America you always get the sense that if you fail, you can just pack up your things and go somewhere else and try again. But in England, it's so geographically small that if somebody succeeds here, it reduces your chances of succeeding.
It seems astounding to me now that the video games are perhaps as important as the movie themselves. And people will spend 2 or 3 years obsessing about the video game in exactly the same way that they'd be obsessing about the movie if they were working on that.
Muslims, who have a completely different value system, come to the West, then they should accept that there are certain basic values in the West intrinsic to our culture. Just as I wouldn't suggest that any Westerner walk down the streets of Saudi Arabia in a bikini.
Political correctness is a bit like a granny, a maiden aunt arriving at a party when everyone's having a good time. And she comes in, they all start sort of buttoning up and becoming self-conscious and behaving properly and then when she leaves, you can have fun again.
There are 3 basic differences between we British and you Americans. One, we speak English, and you don't. Two, when we have a "World Championship", we invite teams from other nations. Three, when you meet the British head of State, you only have to get down on one knee.
The really good idea is always traceable back quite a long way, often to a not very good idea which sparked off another idea that was only slightly better, which somebody else misunderstood in such a way that they then said something which was really rather interesting.
On movies, I like to involve the cast in the writing of the script. I like to have a rehearsal period, after which I do the last draft, which gives me a chance to incorporate anything the actors have come up with during the rehearsal period, so I'm very inclusive as a writer.
The one thing I remember about Christmas was that my father used to take me out in a boat about ten miles offshore on Christmas Day, and I used to have to swim back. Extraordinary. It was a ritual. Mind you, that wasn't the hard part. The difficult bit was getting out of the sack.
Although I had good hand-eye coordination, I was so tall and skinny and muscularly weak that I just was not well coordinated. But what I started to do quite early on was watch some of the great old silent comedians, like Laurel and Hardy and Chaplin, and then later on Harold Lloyd and Buster Keaton.
If I like chocolate it won't surprise you that I have a few chocolates in my fridge, but if you find out I've got 16 warehouses full of chocolate, you'd think I was insane. All these rich guys are insane, obsessive compulsive twits obsessed with money - money is all they think about - they're all nuts.
Writing is the great skill, the creative skill. The acting is more an interpretative skill. And the thrill for me is the moment when I think of something. And then the challenge is how to get that funny idea to work in terms of the structure and that kind of thing, which is - and that's what I really love doing.
If you are leaping a ravine, the moment of takeoff is a bad time for considering alternative strategies... Do it in the 'closed' mode. But the moment the action is over, try to return to the 'open' mode... because in that mode we are the most aware, most receptive, most creative, and therefore at our most intelligent.
Now most people do not want an ordinary life in which they do a job well, earn the respect of their collaborators and competitors, bring up a family and have friends. That's not enough any more, and I think that is absolutely tragic - and I'm not exaggerating - that people feel like a decent, ordinary, fun life is no longer enough.
Everything in comedy's got to be exactly right, which is why making a comedic film is kind of a difficult process, because, for most of the two years of shooting it and editing it and reshooting and all of that, it's not quite right. And it's only when you just at the end, you put the final polish on it, it becomes really funny again.
I think you can write very good comedy without a partner, but what I love about it, working with a partner, is that you get to places you'd never get on your own. It's like when God was designing the world and decided we couldn't have children without a partner; it was a way of mixing up the genes so you'd get a more interesting product.
We all operate in two contrasting modes, which might be called open and closed. The open mode is more relaxed, more receptive, more exploratory, more democratic, more playful and more humorous. The closed mode is the tighter, more rigid, more hierarchical, more tunnel-visioned. Most people, unfortunately spend most of their time in the closed mode.
I started to make harder jokes before anyone else did. And the producers would get anxious. They'd say, 'That's a little bit hard-edged, isn't it?' And I'd say, 'Let's just try it and see how the audience reacts. If they don't like it, let's cut it out.' And the audience roared with laughter, so I learned you could do this harder humor and people loved it.
When you've only got few days of rehearsal before you're in the studio, it's wonderful to start off with people that you have good, friendly, tolerable relationships to start with, for the simple reason that you don't have to spend 24 hours figuring out how sensitive they are, and can you give them a line reading, or how do you have to give them direction.
Nerves are always a big problem for me, which is why I loved doing American sitcoms. Because you know when you do the take in front of the audience that you're going to do it again afterwards. A minute after you finish, you just go and do it again. So, there's that sort of safety net. And then if you made a little mistake or two, they'll go pick it up, so there's nothing to worry about.
...when you collaborate with someone else on something creative, you get to places that you would never get to on your own. The way an idea builds as it careens back and forth between good writers is so unpredictable. Sometimes it depends on people misunderstanding each other, and that's why I don't think there's any such thing as a mistake in the creative process. You never know where it might lead.
This is the most important joke I've ever heard. Niels Bohr, the founder of Quantum Physics, had a friend to dinner. As the friend left, he noticed a horseshoe nailed above Bohr's front door. He said to Bohr, accusingly, "Niels, you're a great scientist. You can't believe in superstitions." Bohr answered, "I don't, but apparently it works anyway."As with confirmation bias, we tend to lean toward superstitions that benefit us.
Would you take a billion dollars, if as part of the deal the Earth were made uninhabitable a year after your death? ... well, of course not; you care about your friends, above all your children, any grandchildren. But ... what if the deal calls for the planet to be poisoned a thousand years later? We feel strong obligations to generations in the near future - should we not feel the same way about our children's great-grandchildren and generations beyond them?
When I was a child and I was upset about something, my mother was not capable of containing that emotion, of letting me be upset but reassuring me, of just being with me in a calming way. She always got in a flap, so I not only had my own baby panics, fears and terrors to deal with, but I had to cope with hers, too. Eventually I taught myself to remain calm when I was panicked, in order not to upset her. In a way, she had managed to put me in charge of her. At 18 months old, I was doing the parenting.
The real religion is about the understanding that if we can only still our egos for a few seconds, we might have a chance of experiencing something that is divine in nature. But in order to do that, we have to slice away at our egos and try to get them down to a manageable size, and then still work some practiced light meditation. So real religion is about reducing our egos, whereas all the churches are interested in is egotistical activities, like getting as many members and raising as much money and becoming as important and high-profile and influential as possible.