A Quote by Robert Mankoff
One question about a joke is, how well is the strangeness of the situation resolved? At 'The New Yorker', we retain a lot of incongruity, tapping the playful part of the mind - Monty Python-type stuff. We also try to use humor as a vehicle for communicating ideas. Not editorial comment, but observation.
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I love the humor of 'Monty Python.' I always remember being so impressed by how violent 'Monty Python' are, actually, when you look at what they do. Terry Gilliam has a great way of kind of proposing violence.
I was pretty much a child of 'Monty Python.' I grew up loving that type of humor and even structured a lot of humor in the same fashion.
I was pretty much a child of Monty Python. I grew up loving that type of humor and even structured a lot of humor in the same fashion.
I had a 'Monty Python' CD, and I would listen to it in the car on the way to school. It also refined my British accent. I can do a killer British accent because I'm just imitating 'Monty Python.'
Missing out on 'Monty Python' was a real blow at the time. I sometimes wonder how things would have been different if I had been invited to join 'Monty Python,' but as the saying goes, one door closes, another opens.
I like musicals that are sometimes comedic, but I haven't even seen the Monty Python musical, and I'm a huge Monty Python fan.
At the end of Season Four of 'Mr. Show,' instead of doing another season, everyone just thought they wanted to go and do a movie. Kind of like Monty Python. Monty Python went right into 'And Now For Something Completely Different,' and everyone kind of compared 'Mr. Show' to Monty Python.
We just thought of 'Boosh' as an extension of our childhoods in a way, the stuff we had grown up on and loved: 'Monty Python,' The Goodies, Frank Zappa. It spoke to a certain type of person, and we just carried on doing it.
I think the thrust of any child is to try to fit in and be part of it. And I can't tell you how many times my humor, you know, what I thought was humor ended up making me the outsider. Like I'd be, I go, 'It's a joke.' And they'd go, 'Well, what was funny?' And they just thought I was insane.
An important part of dating is communicating. We communicate by sharing our thoughts, ideas, and feelings. We enjoy being with someone when we have an easy time communicating or when we have a lot to talk about.
William Maxwell's my favorite North American writer, I think. And an Irish writer who used to write for 'The New Yorker' called Maeve Brennan, and Mary Lavin, another Irish writer. There were a lot of writers that I found in 'The New Yorker' in the Fifties who wrote about the same type of material I did - about emotions and places.
You can build a statistical model and that's all well and good, but if you're dealing with a new type of financial instrument, for example, or a new type of situation - then the choices you're making are pretty arbitrary in a lot of respects.
Type well used is invisible as type, just as the perfect talking voice is the unnoticed vehicle for the transmission of words, ideas.
I don't mind other guys seeing movies I want to see and then writing about them. That's fine, especially when it's the New Yorker's Anthony Lane, because he knows this stuff pretty well.
I'm a prankster with a Monty Python sense of humor that somehow gets misrepresented in those tacky supermarket publications as bratty, snotty, and rude.
I always look at 'Monty Python and the Holy Grail.' They talked about how they wrote this movie with horses, and then they realized that horses are super-expensive and time-consuming. 'Why don't we just change it to coconuts?' That's part of my process.
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