A Quote by Kenneth Williams

I can't stand innuendo. If I see one in a script I whip it out immediately. — © Kenneth Williams
I can't stand innuendo. If I see one in a script I whip it out immediately.
When you read something in script form, there are some subtleties that stand out with far greater gravitas than sometimes what you see on screen.
It's rare that I read a script, and I immediately go, 'This is perfect. I can see myself in this.'
It does not matter what the whip is; it is none the less a whip, because you have cut thongs for it out of your own souls.
When you're travelling, your day is jam-packed. I just don't have time to whip out a PC all the time. But I can whip out a BlackBerry and tweet. I keep a constant diary of where I'm at and why I'm there.
We see only the script and not the paper on which the script is written. The paper is there, whether the script is on it or not. To those who look upon the script as real, you have to say that it is unreal - an illusion - since it rests upon the paper. The wise person looks upon both paper and script as one.
Jada, Styles P, the LOX, period. You throw on one of their joints... I'm in the whip; I try to keep my cool in the whip. I don't like bouncing around, getting my crazy on, but it's certain joints you gotta wild out. Roll the window down, blast the joints, let it be heard. That's one of them groups that bang it out.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
Love flies out the door when money comes innuendo.
I got the script for 'Real Steel.' I started reading and saw that it was about robot boxing, and I was immediately turned off. It's not my thing. But I continued on, and by the time I got to the end of the script, I had chicken skin and tears in my eyes. I thought, 'Man, we don't make movies like this anymore.'
I find Shakespeare surprisingly sexual. A lot of his language - a lot - has that kind of sexual innuendo that is at once everywhere but also kinda lost because we have our own innuendo now, our own language.
One day, I started writing, not knowing that I had chained myself for life to a noble but merciless master. When God hands you a gift, he also hands you a whip; and the whip is intended solely for self-flagellation... I'm here alone in my dark madness, all by myself with my deck of cards - and, of course, the whip God gave me.
And so gentlemen, I learned. Oh, if you have to learn, you learn; if you’re desperate for a way out, you learn; you learn pitilessly. You stand over yourself with a whip in your hand; if there’s the least resistance, you lash yourself.
When you elected me to serve as your Whip, I committed to create an inclusive and open Whip operation - one that didn't just register your objections and move on, but instead actively sought you out and worked to build coalitions that enabled us to advance our agenda on some of the most controversial issues we have faced.
You see a script, and you say, 'Oh, I can play the heck out of that,' talk to your agent, and he says they don't want to see you. That's heartbreaking.
It slightly depends on your perspective, sort of how you look at these things, but when I sit down to write a script, I'm not planning to write a script; I'm planning to make a film, and so I only see the script as being just a step there.
The enemy is here, and if we do not whip him, he will whip us.
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