A Quote by John Cleese

I would like to do my own eulogy, and then shoot myself and then get in the coffin. — © John Cleese
I would like to do my own eulogy, and then shoot myself and then get in the coffin.
My own funeral, I'd like to be laid out in a coffin in my own house. I would like my coffin to be put in the double parlor, and I would like all the flowers to be white.
I worked with Herb Ritts on the Marky Mark shoot, and then Steven Meisel, and then they'd start sending limos for me, and I was like, 'That is so embarrassing. I'm not getting in a stretch limo by myself to go to a shoot.' That whole New York thing of, 'You are fabulous! Turn up to a Meisel shoot in a limo and you're fabulous!'
I would sign on for projects that were meant to shoot in July, and then they would postponed and they would bleed into the following semester, and then I'd take a semester off, and then the movie would collapse.
I'll work by myself for years and then I'll think it'll be fun to et one of my friends like Marshall Brickman or Doug McGrath into a room and not be alone for the writing of the thing; to have the pleasure of taking walks and get lunch together; its sort of a fun process and then I do it and then I get back on my own for a while until I feel the need to do it again.
A lot of [erotica] was really interestingly disguised in the 19th-century as medical journals. So it would be in the voice of a learned doctor talking about somebody's pathologies. And then it would get really detailed. And then it would get really sweaty. And then you're like, "This isn't a doctor! I would like to see a degree, Mister!"
I love filmmaking because it's like harvesting as a farmer. I have an idea, I get the financing, I write the script and then cast and shoot and edit. Then there is opening night, and after that I get another idea.
Performance shots are a waste of time, they look like everyone else's. If you want to shoot a performer, then grab them, own them, you have to own people, then twist them into what you want to say about them.
I tend to shoot really quick so you don't get the problems you might get on a traditional film where you shoot one way, then another, and it's pissing down with rain and they won't cut together. We shoot so fast we can incorporate the weather into it. The worst weather we had was when they were in the caravan up the mountain and there was no cover. One man's weather is another man's production value. To create the sleet would cost a fortune but we got it for free so we'll just have to go with it.
Like other parties of the kind, it was first silent, then talky, then argumentative, then disputatious, then unintelligible, then altogether, then inarticulate, and then drunk. When we had reached the last step of this glorious ladder, it was difficult to get down again without stumbling.
When my mother died, we had the coffin at home. Like, old-school - you have the coffin at home so all the people can come and see the person. And her coffin was next to my room, so I used to go in and stand on a chair and look at her. You know, it's open coffin and stuff.
I always give myself a three-month period where I would just hibernate and wouldn't even think about the baby weight. I would just be with my baby in my own little world. And then, once I started getting more energy and wasn't so tired, then I would hit the gym.
I'll believe I made it when I'm 100 years old, I'm still able to get work, and they're about to put me in a coffin, and I'll be like, 'Yeah, OK, it went all right.' But until then, I'm not saying it.
I live by fallacy. 'If I get enough nice Ikea furniture, I'll be a grown-up.' Then I catch myself. Or, 'If I get off by myself, away from the stress of modern life, I'll be OK.' Then I catch myself.
I find myself hoping I can get on a TV show, and then people from Oklahoma will come to my restaurant. Then I'll be able to make enough money to open my own place.
We've done things that are faster at times, but it's definitely different when we direct all the episodes because it's like we have to write them all, then shoot them all, then edit them all. So we have to just get ahead on those scripts basically.
It used to be crazy as I would shoot till 5 A. M. for Kapil's show and then rush to the sets of 'Akbar Birbal' and then finish my dance practice.
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