Читать книгу Monty Python Speaks! Revised and Updated Edition: The Complete Oral History - David Morgan - Страница 27

How was the public’s response to your work different from what you’d experienced on your previous series?

PALIN: I suppose the difference was that, partly because of its programming and the time it went out, Python clearly was seen as very much for an adult audience, which is very interesting because nowadays the spirit of Python burns on in ten-year-olds, twelve-year-olds, thirteen-year-olds. So many children love Python. But at the time it was seen as an adult show. I’d never really been involved in an ‘adult’ show, kind of X-rated comedy show, and this seemed to be the image of it.

And also we became sort of the intellectuals’ darling for a bit, written up in The Observer, things like that, which was again quite different from anything I’d done before. The word ‘cult’ was quite soon applied to Python, though we weren’t quite sure what a ‘cult show’ is. It applies to something that is the property of only a very few select people. I’d never been interested in doing that before. Frost Report was a very popular show; Do Not Adjust Your Set was aimed at a popular audience. But Python seemed to fit into this niche of daring, irreverent, therefore only accessible to those of a certain sort of intellectual status, and that lasted for a long time.

So much in television depends on when programmes go out. The BBC labelled the programme – without meaning to – by the time we put it out. We were put out so late at night and people who had to work early next morning couldn’t see it; there wasn’t videos, you couldn’t tape them and run them the next morning if they were put out late at night. Insomniacs and intellectuals were the only people up!

MACNAUGHTON: You do know about Spike Milligan’s remark on the radio once when somebody asked him about the success of the Pythons? ‘Oh,’ he said, ‘my nephews are doing very well, aren’t they?’ Which is a very reasonable thing, because they loved Milligan.

Python would not have been what it was had it not been for

The Goon Show or the Q series.

MACNAUGHTON: Precisely. But would The Goon Show have been what it was were it not for the Marx Brothers? And then would the Marx Brothers have been the way they were were it not for burlesque, and would burlesque have been the way it was were it not for music halls? And so it’s got a wonderful progression, I think.

The trouble is, since Python I haven’t seen anything come up yet that takes its place. And I’m very pleased, because quite honestly I don’t think you can. I guess that’s one of the big pluses for Python, in that nobody can really copy their style – it doesn’t work. I mean, Morecombe and Wise can be copied. But how do you copy [these] guys? I think it would be very difficult to do it again.

CLEESE: My experience is that critics recognize what is slightly original, but very frequently miss what is very original! And if you look back at the reviews of Monty Python’s Flying Circus, they were really not particularly noticeable – nothing remarkable about the reviews for quite a long time. I suspect you would probably get to show nine or ten of the first series before anybody was really writing that something remarkable was happening. A few people got it right away. But critics on the whole did something that they do when they’re insecure: they describe what the show was like without really committing themselves to a value judgment.

GILLIAM: We’d rather be making films that people are passionate about than, ‘Oh, that’s a nice film.’ And Python’s always managed to do that; people are passionate about Python. I think that’s where we’ve always been good. That’s probably the area we should stay in. It’s like comic books; comic book artists and people who deal in comic book all feel like outsiders, they’re never given respect. There’s an amazing skill involved in making a good comic book. The artwork in comic books is brilliant, some of the writing is brilliant – comic books is a really great art form, but it’s not [considered] art. Not literature. It’s this bastard thing hanging out there. And they complain, [but] I keep saying, ‘No, you’re lucky that you haven’t been accepted – keep being angry and outside and doing stuff.’ Because if you become a Keith Haring or Basquiat or any of these people who get drawn into the Establishment, they die, they just freeze up. What’s Keith Haring? His stuff is nice and it’s sweet and it’s cute, it’s all right, but I don’t think when they look back a hundred years from now they’re going to say, ‘He nailed it.’ Except maybe they will: that’s how infantile and silly things had got, that in fact he captured the essence of the whole thing doing just nice, sweet stick figures and nice colours. I don’t dislike his stuff at all, I think it’s nice, but I don’t think it’s Wow!!

I think certainly with comedy, comics, and all that – comics/comedy, we’re stuck with sounding very similar! – that’s outside, and it should stay outside.

MACNAUGHTON: They were quite surprised by the positive reaction to the Gumbys, these daft people with the handkerchiefs tied on their heads. When they walked into the studio one time, what happens but the whole front row of the audience had handkerchiefs tied around their heads! Gumby just had to appear and there was a roar of laughter.

GILLIAM: I’m the luckiest one because I’m the least known, the least recognized. And it’s nice to be recognized occasionally. I get enough, somebody saying ‘Hi,’ just to assuage my fading ego: ‘That’ll keep me going for a month or two.’

And the whole thing is so ephemeral, it’s just incredible how thin the line is between being known and not known. There was one day after we’d done a chat show here after one of these series, my wife, Maggie, and I were shopping somewhere, and someone all excitedly started shouting, ‘Hey, hey, look who’s here!’ Oh fuck. It’s this piece of meat that is being attacked by all these excitable people who had just seen you on television the night before. And then you realize, ‘Thank God I’m not John.’ It’s an awful job to walk down the street and be John Cleese, because you can’t escape from it!

CLEESE: You know when you do something and it catches on, and everybody likes it, then for the next eight years as you creep out of your house at half past eight in the morning: ‘Oi, do your funny walk there, John!’ Just so painful!