A Quote by Noel Fielding
I started writing sketches when I was 13. I liked Vic Reeves, Fry and Laurie, and Paul Merton, and I thought you could just send sketches to the BBC, and they'd go, 'Great. We'll put these on telly.' But I gradually realised that you either had to go to university and join a club, or do standup.
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Science was always a passion, but I also loved 'Monty Python' and 'The Young Ones,' and I discovered the Footlights comedy club at university, where a lot of those people got their start. I had a go and loved it immediately. After that, I just couldn't stop writing sketches, and it all took off from there.
I started writing sketches with Dennis Kelly, who I ended up writing 'Pulling' with. We entered a BBC competition and did quite well, then started writing bits for other people's shows. You wheedle your way in, write pilots and eventually you end up writing a sitcom.
The kitchen was bright, cheerful yellow, the walls decorated with framed chalk and pencil sketches Simon and Rebecca had done in grade school. Rebecca had some drawing talent, you could tell, but Simon's sketches of people all looked like parking meters with tufts of hair.
I lived in Hollywood and, ironically, I didn't know you could just go out and get an agent and go on auditions and try and become an actor, I thought it was like a Masonic thing, like a blood line you had to belong to – until I was 13. Then I realised what you had to do. It is the one thing I know I want to do for the rest of my life.
I wish I still had all of my old schoolwork. I'd just have all the sketches around the schoolwork, and none of the schoolwork done. Just sketches all around. I was always doodling something.
I carry a notebook full of sketches of pictures I want to take - they are really scruffy sketches, but at least I am going out there with a clear objective.
Actors, you have to wait for people to give you work, or you have to make your own stuff. But standup, I could just say, 'I want to do standup in 30 minutes,' and I can go do standup. Or I could just say, 'I want to do standup in a few weeks in this city.'
When I was a kid. I started writing when I was 13. I got my first electric guitar when I was 13, but I'd always been singing. I had my first little acoustic when I was six. But I started being in bands when I was 13. Crappy rock bands, avant-garde things where we'd, like, 'wanna go against the norm, man.'
I never thought about writing a novel until I was 13, and that happened by chance. I was on school holidays, and I was bored, and I thought I just wanted to do something to occupy myself instead of asking, 'What can I do, mum? Entertain me.' I started, and it really just took over, and I realised, 'Wow, this is an amazing experience.'
I thought the world had actually ended. I thought nothing good could ever happen again. I thought anything might happen if I wasn't vigilant. I didn't eat. I didn't go out. I didn't want to see anyone. But I survived, Paul. Much to my own surprise, I got through it. And life...well, gradually became livable again.
When Tim asked me to do Frankenweenie, he had his original sketches from before he did the short, of what Sparky looked like, and he drew Victor and some of the other crucial people. The remarkable thing about working with Tim is that, once he's read a script, he sketches out everybody else.
I don't work from drawings. I don't make sketches and drawings and color sketches into a final painting.
I never met David Kelly, but I knew from what he told other people that this was not his view. The BBC were saying that Tony Blair was making up lies so that he could send young men and women to war, maybe to die. I think that if the BBC had done their jobs professionally, they'd have realised that you couldn't justify what they said. And nothing has emerged since to justify that report.
People get this very romantic vision of a fashion designer who in one night makes 25 sketches and in the morning throws them on the table and there are a lot of women in white aprons with the pins on the lapel and they start to grab the sketches and... It's not like that.
SM:TV' is where we learned our trade. It was young, we could try out new sketches every week. When we got better ratings than our BBC rival, 'Live And Kicking,' it was amazing.
My biggest fear is expending the best and most exciting energy in sketches, no matter how quickly executed. I often need to empty the rubbish bin several times before regaining the fresh quality of the initial exploratory sketches.
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