There's no gap between the writer and the performer, which is what I think makes [Monty] Python unique. Five or six people who write Python and five or six who act it. That's what makes it unique.
The next step will be for the colonists on Mars to throw off the hand of the United States. There will be this wonderful historical irony. When the people on Mars write a declaration of independence saying, 'We hold these truths to be self-evident...', the US will be rather pissed off.
I never think in terms of target audience. I try to write what makes me laugh, so I'm the target audience. I guess I just hope there's another person in America like me.
I always have a feeling you should move the playing field and the minute you know what you're doing, you're wrong. Therefore, I wanted us not to try to follow Spamalot immediately, but to do something different. This is perfect because it uses all the same skills, like story telling and lyric writing and music writing, but it's presenting it in a different form. And of course it gives me and John a nice chance to perform and show off which is also fun.
When I was 23 I started writing for I'm Sorry I'll Read That Again and was paid three guineas for every minute's airtime.
You could write a joke in the pub at lunchtime and watch it performed on television that evening.
Monty Python paid me £20,000 to write, direct and assemble them - the cheapskates! I told them I'd never earned less in a year since leaving Cambridge. The first show sold out in 43 seconds and we ended up performing ten in total. We had no idea there would be such demand.
When we graduated [ from Cambridge], we were grabbed right into television. I was grabbed straight into the practice of writing comedy. It was all writing and performing. You wrote something in order for you to perform it.
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