Film Producers From England

"Drama is life with the dull bits cut out."

"Deep inside, I am a shy man. And in the presence of colorful characters, I am a clam. I never try to out-eccentric the eccentricsǃ"

"In another Hitchcock film, Foreign Correspondent, one of the most exciting and melodramatic sequences ever made, the airplane crash in mid-ocean is accomplished with a minimum of reference, in the speed and economy of image that is to be found in concentrated poems."

"Hitchcock finds women captivating but dangerous. She allures by nature but she is chief artificer in civilisation, a magic fabricator of persona whose very smile is an arc of deception."

"When you think of the visual style, when you think of the visual language of a film there tends to be a natural separation of the visual style and the narrative elements, but with the great, whether it is Stanley Kubrick, Terrence Malick or Hitchcock what you're seeing is inseparable, a vital relationship between the images and the story he's telling."

"I suppose what surprised me most about Hitchcock was how little he directed us. I had done a number of films for and he seemed quite meticulous in contrast. Hitchcock, however, didn't seem to direct us at all. He was a dozing, nodding Buddha with an enigmatic smile on his face."

"[Hitchcock quoted] "I'm on a diet. And I don't do crazy tricks in my pictures any more. You know what a good time I used to have in the old days, with violent cuts and dissolves and wipes, everything in the room spinning round, standing on its head, all that sort of thing. But I've stopped all that. I haven't time to waste any more on technical tricks. I like my screen well filled, every corner used, but I've no fancy theories I want the cutting and continuity to be as inconspicuous as possible. All I'm concerned with is to get the characters developed and the story clearly told, without wasting any footage. I've turned technical ascetic, kid, without either fun or luxuries.""

"When I first met Hitchcock he was writing and ornamenting sub-titles for silent pictures. He used to announce "Came the dawn" in black letters on a while ground, or tell us that "Heart spoke to heart in the hush of the evening" in white letters on a black ground. His title cards were both elegant and original, because the man simply could not help drawing. All his instincts were towards visualisation, and all his training towards draughtsmanship."

"Actually Hitch, like most heavy men, is the gentlest creature you could meet in a month of Sundays. He has done more kindly turns to out of work actors, assistants, secretaries, and mere sponging acquaintances than anyone I know in this industry. Off set he is many people's angel. On, he is frequently a fiend. Hitch has a tiny wife, who helps him with all his scenarios, and a tiny fairylike daughter, who bobs an old-fashioned curtsey to you when she speaks. These are the people who really rule his life. He is an old-fashioned person at heart, believing in the ordinary things of life, the small common decencies, the trivial events that alone make the big ones extraordinary. That is why, I am convinced, he is a good film-maker."

"During my ten-year friendship with Hitch the full name is unthinkable to anyone who knows him I have never known him fail to impress strangers with a start of surprise. He has always been chubby, but to-day he is a mellow, exuberant mountain of a man in the late thirties, whose passion is music, whose pleasure is good living, and whose genius is for visual imagery. He is a man who visualises both by instinct and training. He cannot help drawing. As he talks to you his broad, draughtsman's pencil sneaks out, and he blocks in groups and figures on the napkin or table top. When he signs his name to a letter the flourish under the signature slips into a cartoon. His Christmas cards are self-portraits, broadly satiric."

"[Explaining her initial silence on his behaviour] sexual harassment and stalking were terms that didn't exist [at the time]."

"I've made it my mission ever since to see to it that while Hitchcock may have ruined my career, I never gave him the power to ruin my life."

"[Hitchcock, on the set of Marnie] I've never gone into detail about this, and I never will. I'll simply say that he suddenly grabbed me and put his hands on me. It was sexual, it was perverse. The harder I fought him, the more aggressive he became."

"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."

"Basil Fawlty was an easy character for me. For some reason, portraying a mean, uptight, incompetent bully comes naturally to me."

"If I had not gone into Monty Python, I probably would have stuck to my original plan to graduate and become a chartered accountant, perhaps a barrister lawyer, and gotten a nice house in the suburbs, with a nice wife and kids, and gotten a country club membership, and then I would have killed myself."

"No puns, no puns, no puns."

"He who laughs most, learns best."

"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."

"If you want creative workers, give them enough time to play."

"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."

"If God did not intend for us to eat animals, then why did he make them out of meat?"

"You see, you could never do a sketch like that these days. The audience is too uninformed. I blame the Americans. Nation of obese, violent, pig-ignorant, bible-thumping morons contaminating world culture. That’s why I spend most of my time here in France. … Beautiful, isn’t it? Just look at those olive trees. [Interviewer: This is Santa Barbara.]"

"My biggest regret? Not being knighted by the Queen. I should have been a knight, and I would have been knighted, if I hadn't written one horrible horrible Python sketch which I deeply deeply regret — [cue Python sketch: "Upper Class Twit of the Year"]"

"When you get to my age, and I'm 66 now, you realize that the world is a madhouse and that most people are operating in fantasy anyway. So once you realise that, it doesn't bother you much."

"Because these people are operating at a very very low level of mental health, they are incapable of understanding the teaching."

"A wonderful thing about true laughter is that it just destroys any kind of system of dividing people."

"Aping Urbanity, Oozing with Vanity Plump as a Manatee, Faking Humanity Journalistic Calamity, Intellectual Inanity Fox News Insanity, You're a profanity Hannity"

"When I was teaching, the headmaster told me "You know, the sad thing about true stupidity is that you can do absolutely nothing about it.""

"All humans are stupid, but the smarter ones at least have a handle on their own ignorance."

"History is a history of crime. It’s a history of people who were stronger beating up people who were weaker, and it’s always been that. It’s deeply, deeply distasteful. But to pretend that one lot were worse than another — you do know the British have been slaves twice, right?"

"[People] get competitive about this business of being oppressed,… We were oppressed, the English, by the Romans for 400 [years], from about 0 to 400."

"I want reparations from Italy,… and then the Normans came over in 1066 … they were horrible people from France, and they came and colonized us for 30 years — we need reparations there too, I’m afraid."

"There's always been limitations on what they're allowed to say. Why you go to Molière and Louis XIV. I mean Molière had to be a bit careful. And there will always be limitations. I mean in England, until some ridiculous late date like 1965, all plays had to be submitted to what used to be a part of the palace called the Lord Chamberlain, and he would read it and there were hilarious letters used to go back was saying 'you may only say f--- once,' this sort of- ‘and you cannot say bugger. But you can say-' this sort of ridiculous negotiating letters."

"But I think it's particularly worrying at the moment because you can only create in an atmosphere of freedom, where you're not checking everything you say critically before you move on. What you have to be able to do is to build without knowing where you're going because you've never been there before. That's what creativity is—you have to be allowed to build. And a lot of comedians now are sitting there and when they think of something, they say something like, 'Can I get away with it? I don't think so. So and so got into trouble, and he said that, oh, she said that.' You see what I mean? And that's the death of creativity. So I would say at the moment, this is a difficult time, particularly for young comedians, but you see, my audience is much older, and they're simply not interested in most of the woke attitudes. I mean, they just think that you should try and be kind to people and that's no need to complicate it, you know?"

"You can do the creation and then criticize it, but you can't do them at the same time. So if you're worried about offending people and constantly thinking of that, you are not going to be very creative. So I think it has a disastrous effect."

"I had a very strange experience in our stage tour. I'm sure that they all remember it differently, but I remember we started off in Brighton and worked our way front to the Midlands, and we were doing a show in Bristol, and we were doing a matinee there, and for some extraordinary reason the audience just didn't laugh. So after about four sketches of this Bristol matinee audience not laughing at something that people had been falling around at for two weeks, I realized that they were right and that it wasn't funny. And I'm being perfectly serious: if people aren't laughing, it isn't funny. And then the next house came in in the evening, and they started to laugh again in all the right places, and the show became funny again. But I mean comedy is incredibly brittle, and if something goes wrong with the atmosphere, you're dead."

"...what happens as you get older, and I promise you I'm not exaggerating, is that you begin to realize, first of all, that almost nobody knows what they're doing or what they’re talking about."

"Cleese, who enjoyed a fairly traditional, upper-middle-class upbringing, has dedicated his career to subverting the very same traditional British society which both molded him and projected him into the limelight. He has been enormously popular, in part because the British middle and upper class tend to enjoy that small moral relief which they experience through laughing at themselves. Christianity, nationalism and class have all come under Cleese’s satirical gaze while he continued to enjoy the fruits of the middle-class existence that he so tenaciously and profitably chipped away at. Now, like so many Boomers, he finds himself in the crumbling ruins of that same soppy-stern society, wishing that it would return, if only partially, and has begun a late-life declaration of war against political correctness, multiculturalism and the ‘loony left’ for which he is partly responsible."

"Four hundred years ago, we would have been burnt for this film. Now, I'm suggesting that we've made an advance."