Comedy. It was just huge in my house. Peter Sellers and Alec Guinness, Monty Python and all those James Bond movies were highly regarded.
I was always a fan of the old-style comics. I loved vaudeville. I loved Milton Berle, Dick Shawn, Phyllis Diller, Don Rickles, Charlie Callas, all those guys. Hilarious. I love the Bing Crosby and Bob Hope movies, and Abbott & Costello. My television influences were 'Monty Python's Flying Circus,' 'Benny Hill,' and 'Hee Haw.'
'Monty Python' and 'The Simpsons' have ruined comedy for writers for the rest of our lives.
Remember that film 'Sliding Doors,' when John Hannah woos Gwyneth Paltrow by reciting Monty Python sketches? I can tell you now that doesn't work, so that film's wrong.
I love the English. My God, they brought us 'Benny Hill,' 'Monty Python,' 'The Office,' Neville Chamberlain.
I just don't know when we all decided that if it doesn't fit in a Happy Meal box, it's not for kids. I remember flying monkeys in the Wizard of Oz, and I grew up watching Monty Python. I think that kids can handle a lot more than we give them credit for, especially when it comes to the absurd.
I'd grown up loving English films. I was a huge Monty Python fanatic as a kid.
Growing up, I watched shows such as 'Blackadder' and 'Monty Python' with my parents.
One question about a joke is, how well is the strangeness of the situation resolved? At 'The New Yorker', we retain a lot of incongruity, tapping the playful part of the mind - Monty Python-type stuff. We also try to use humor as a vehicle for communicating ideas. Not editorial comment, but observation.
I prefer the finesse of French humour. English humour is more scathing, more cruel, as illustrated by Monty Python and Little Britain.