A Quote by Mel Smith

It's a pragmatist's business, comedy. Start off with good intentions and references to the Pompidou Centre and you end up with boiled sweets and a pantomime cow. — © Mel Smith
It's a pragmatist's business, comedy. Start off with good intentions and references to the Pompidou Centre and you end up with boiled sweets and a pantomime cow.
The collages I never wanted to sell. I thought it was a very private thing, so I kept the collages. Then, in the end, I had a big collage in the Pinault Collection in Venice and the director of the [Centre] Pompidou said, "Did you make big collages like this in the '60s?" I said yes, so he came to the studio and said, "Let's make an exhibition in the Pompidou."
It's called showbusiness, and the business end of it is very important, especially now. You have to learn the business end of it; otherwise, you get ripped off left, right and centre.
If you charge off with some political agenda that is not informed by clarity, you are going to end up with business as usual. The road to hell is paved with good intentions but it is not paved with clarity.
I'm not a moral relativist, I do think at the end of the day there's right and wrong, there's good intentions, and then there's bad paths that you can go on even if you have good intentions and we believe that.
Renzo Piano and Richard Rogers's Centre Georges Pompidou of 1971-1977 - the true prototype of the modern museum as popular architectural spectacle - wound up costing so much more than planned that the French government solved the shortfall by cutting support for several regional museums.
How do we get a pantomime cow on set. Jeez, the rigours of satire.
Start your day with good intentions and set yourself up for a good attitude. It's not what happens to you that matters but how you respond.
I was greatly influenced by 'The Goons' and 'Monty Python' reconstituting what comedy was - it could come from a funny word, not just a set up and a pay-off. I liked the zaniness; they were satirical, slightly saucy and very literary in their references.
When it comes to production and the overall sound, I don't really have a lot of intentions with it. I start off with melody and a lyrical idea, and then build off of that story.
I think of these imperial adventures like welfare programs; you start them with all good intentions, they never end, they go on forever and get more expensive as they go on.
I think it's great training for any comedian to start on cows. Because with cows, you expect them to be bored and just stare at you blankly. And that's exactly what you'll get at a comedy club. If you can toughen up with a cow audience, then you'll never be worried with a human audience.
I'm not sure if President Obama is an ideologue or a pragmatist. I am hoping and praying he's a pragmatist.
I liked horror and comedy, basically, from a young age, but I just ended up getting into comedy because there was - I could do stand-up comedy, and that was my way into this business, and then there was no stand-up horror, and I didn't know how to get into that world.
But it doesn't have to be this way. We can do things better. We need to stop doing business as usual and start focusing on end-to-end quality. Security needs to be built in from the start - not slapped on after the fact.
The first confrontation I had with an Aussie wine was a well-known Cabernet/Shiraz and it reminded me of boiled sweets. I find a lot of Australian wines unsubtle.
A lot of times, I'll have a goal, I'll start writing, and I'll end up in some far off place, which is good. It's nice to have a focus, but letting the lyrics write themselves where they need to go is important.
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