A Quote by Rory Bremner

I'd done an Edinburgh show before, in 1981, called 'The Importance of Being Varnished' - I was in the pun trade at the time. — © Rory Bremner
I'd done an Edinburgh show before, in 1981, called 'The Importance of Being Varnished' - I was in the pun trade at the time.
Each week we usually have one person who's never done the show before. Last year we had close to 60 who'd never done the show before. We're constantly booking new people, sometimes to the consternation of people who live here who do the show regularly.
I've done commentary before for Pancrase, they had a show called 'Pancrase: Legends of MMA' that aired on Imagination Television. I've done live commentary for PRIDE, I've been around the block a bit.
I choose my work based on what is offered to me. If I see if my role can change the way the show will shape up, I come on board. If me being there in a show will make no difference, then I won't bother being part of it. I am inclined to do things that I haven't done before.
In 1981, I think, for the Kunsthalle in Düsseldorf. Before that I designed a mirror room for Kasper König's Westkunst show, but it was never built. All that exists is the design - four mirrors for one room.
I did a show a long, long time ago called 'Cooking Mexican'. It was a studio show as opposed to on-location like the one I do now. Before my first show, I was a cooking instructor, and I did a whole lot of classes for home cooks about Mexican food.
If you compulsively pun you are called a paronomasiac.
The first time I saw Tim Minchin live, it was his 2008 show 'Ready for This?' in a very big room at the Pleasance during the Edinburgh fringe.
In my career, all my most important breaks have come from Edinburgh. Winning awards, being reviewed, bagging my BBCR4 series and the chance to tour has all come from Edinburgh, which begs the question, why the hell have I left it so long to come back?
I've spent some time in Edinburgh before. I used to go up there to busk and actually went to the Fringe a few times as a teenager with my cello.
I worked on a show called 'West Wing' before. I didn't work with Aaron Sorkin, but he created the show and set the tenor of the show, which was you follow the words of the script perfectly because there's a dramaturgical thing behind it.
I seem to be able to get away with pun strips if I add a panel at the end where I somehow indicate that I know it's a bad pun.
Do you want to improve the world? I don't think it can be done. The world is sacred. It can't be improved. If you tamper with it, you'll ruin it. If you treat it like an object, you'll lose it. There is a time for being ahead, a time for being behind; a time for being in motion, a time for being at rest; a time for being vigorous, a time for being exhausted; a time for being safe, a time for being in danger. The Master sees things as they are, without trying to control them. She lets them go their own way, and resides at the center of the circle.
I miss my 'Facts of Life' family. But I had been preparing myself to leave the show for some time before we called it quits.
Only the pun remains. The pun, beloved of Shakespeare, children and tabloid headline-writers, is normally eschewed in the modern, sophisticated circles in which I move.
Growth is improving the lot of the poor in many countries, reducing poverty by half since 1981. Freer trade could accelerate progress.
I think you learn something from everybody that you've worked with. I really learned how to behave on set through the people that I worked with, like the importance of being on time and the importance of being professional. I don't bring my cell phone on set; I leave it in my trailer.
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