A Quote by Benny Hill

If you can mix glamor and gags, then you can catch the audience twice over. — © Benny Hill
If you can mix glamor and gags, then you can catch the audience twice over.
You can't just keep bottling the same thing over and over again and think the audience isn't going to catch on.
He was, like everyone of a strongly erotic disposition, twice as good, twice as much himself when he knew that women liked him, just as many actors find their most ardent vein when they sense that they have cast their spell over the audience, the breathing mass of spectators before them.
And I know that this is prophetic: that God is going to send this mighty wave - I want everyone here to prophecy with me in Lakeland - that this mighty wave is going all the way out to California, Highway 40, coast to coast aaaaah! and we want to release that mighty Holy Ghost in. Send it all over the world. The wave is moving. The wave is moving the wave is. Come on! Catch the wave. Catch the wave in Canada. Catch it in Canada. Catch it in Australia. Catch it in England. Catch it in Asia. Catch it in Europe. Catch it all over the world.
You are in a strange world in pantomime, where you are allowed to step out and talk to the audience and do silly gags. Sometimes I feel like a cartoon character.
A jump jockey has to throw his heart over the fence - and then go over and catch it.
I stream this radio station, Radio Nova, that's based in Paris. They curate a beautiful set that's really all over the place - they'll play blues or some West African music, then A Tribe Called Quest, then funk from Ethiopia, then James Brown, and then the Beatles. It's an amazing mix.
I'm never happier when writing than when I see gags taking shape - ideally, gags at my own expense. What I like is the shuttling back and forth, serious into comedy and vice-versa, ideally, both in the same sentence, or even simultaneously. The best jokes are always ideas in miniature.
Somewhere in talking and rehearsing, there is a magical moment where actors catch a current, they're on the right road. If they really catch it, then whatever they do from then on is correct and it all comes out of them from that point on.
Every lecture should state one main point and repeat it over and over, like a theme with variations. An audience is like a herd of cows, moving slowly in the direction they are being driven towards. If we make one point, we have a good chance that the audience will take the right direction; if we make several points, then the cows will scatter all over the field. The audience will lose interest and everyone will go back to the thoughts they interrupted in order to come to our lecture.
What all this posturing and fake glamor results in is a vast detachment and cynicism on the part of the artists. Since it's impossible to have respect for an audience that'll take just about anything you care to dish out, and the impassive demeanor is so central to the role, a general numbnose is all that can be expected.
I don't think you can catch lightning in a bottle twice.
I don't wear rubbers cause you can't catch it twice.
I could be winning the decathlon in high school, which I've won twice, yet, if my dad is in the audience, 'Oh look! It's Anthony Quinn.' And I'm like, 'Hello? Kid just got a gold medal. Hello? I'm over here.'
I'm a musician - music will never go away - but my focus is acting, and I started late so I have to play catch-up. So that means I have to work twice as hard in this game. But it will never stop, I think I always feel I have to work twice as hard.
My first coach was my brother Ken. He taught me submission wrestling, the catch-as-catch-can style that he was famous for. Then I trained in Japan with Funaki and Suzuki. Then I learned jiu-jitsu and sambo with Oleg Taktarov and Gokor Chivichyan.
Each pattern describes a problem which occurs over and over again in our environment, and then describes the core of the solution to that problem, in such a way that you can use this solution a million times over, without ever doing it in the same way twice.
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