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Cerita gelembung super gelembung 45 2 View: 0. Loli Succu View: 0. Yeah, thanks for that. I'm sure the architects of New Laddism, which is David Baddiel and Frank Skinner, didn't really imagine that it would end up basically being a mode of government.

In the TV series Chris Morris is credited as script editor, and also cross-examines you intermittently during the show.

Previously it was Armando Iannucci. But how much editing actually happens? SL: Arm didn't do much, cos he was in America doing Veep. He sort of signed off at the end.

Chris comes to see it, every few months. What he's most useful at is helping me with what parts would transition well into film material.

Also, there's a bit in the fourth episode where the punchline is, 'The public-private partnership', and he said 'That joke doesn't really make sense.

It's not good enough. One, I'll leave it in but make it worse. And two, I know that he's noticed it. So when it comes to the improvised interview thing, he'll probably criticise it.

Which will be good. The film stuff, I used to really labour over writing it, but now I sort of delegate a bit. For example, the 'Orienteering With Napalm Death' thing.

My original idea was to have it a bit like Michael Bentine's Potty Time , with a wide shot of a model landscape with these tiny figures of Napalm Death moving over it quickly.

Then I said to Tim Kirkby, the director, 'If you had to make a rock video of Napalm Death, and they're orienteering, what would you do?

So I basically take out all the scripts, for the film bits, and I say to the team, 'If you were doing this for real, what would you do?

The main thing about having Chris as a script editor is that there's not much script editing you can do, because it is what it is.

It stands or falls live. But the fact that he's seen it and knows it means that on the last day of filming, when I sit down for four hours with him and I don't know what he's going to say, he knows the stuff inside-out and he knows how to undermine me.

In the interview clips, he plays a sort of disappointed headmaster, and you're like a sheepish schoolboy. And that works really well. Because, like you said, the character was more arrogant in the first series, and now that I'm seen on some level as a success, I need to be smashed down again.

Presumably any ill feeling from that era must be water under the bridge SL: We've never really talked about it.

It wasn't much to do with Chris. What happened was, there were four writers who weren't performers. What a sad loss, a very nice man as well.

Anyway, a lot of the characters, if we didn't invent them, we named them or whatever. So when it came to doing it for TV, our agent said that we ought to get part-ownership of things.

We were offered a very generous amount of minutes-per-week writing, but we held on for a share of them, which seemed like the just thing to do at the time.

We were told that wasn't happening for anyone, but it did happen, with Patrick Marber, who ended up getting a percentage of Alan Partridge, even though he'd not been involved in the initial writing of it.

I always worried that this had never been resolved, and there was bad vibes about it, although there never seemed to be when I met people involved.

I said, 'We might die in this flight, so let's get all this sorted out. So I read this book and thought, 'Oh, I'm glad that's all sorted out.

So it's a nice thing to find out, to read about yourself. That I was a quite reasonable person, even though I have no memory of it.

It's fun for us to say we invented Alan Partridge, but we didn't. We invented a sports writer, and Steve Coogan did this voice, and that was it.

It wasn't much to do with us. But other people have made more out of less, haha! You often mention that people repeatedly nag you to tell jokes, and just be a gag-merchant, even though you're trying to achieve something different.

Which brings to mind another musical comparison: Scott Walker. SL: Well, you know, basically I've forgotten how to write those sort of jokes.

And when I do one by accident, I'll put that in and make a big deal of it. Because the rhythm's so odd. The problem with doing them at all is that it then gives people who make trailers something to work with.

Then they make a weirdly unrepresentative trailer. Partly the reason I do it is because there aren't jokes, and I want to show people: I could do it, I could do it, but then I'd have to develop a different kind of character.

If people think you can do something, they trust you more to not do it. With a lot of the free jazz guys, and I know this is something people take the piss out of me for but I do find it helpful, when John Coltrane's doing all his free stuff, the beginning and the end is my favourite, cos people know he can play.

So when he does the free stuff, he's not gone mad — he's chosen to do it. He must have some sort of plan.

But what a lot of the free people do now, they just do the middle, haha. So people go, 'Oh, they can't play. SL: Yeah, he says, 'Many are prepared to suffer for their art.

Few are prepared to learn how to draw. When I really tried to start again, in , and really think about what I was trying to do in stand-up — and I had to do something, because I was in a lot of trouble financially and I knew I had to make something work — that's partly why I started to take the piss out of famous comedians.

You can't say, 'It's failed because it's not that. But the problem with that is, had I known how well it might do, I probably wouldn't have said that, about those people.

Because the things I said hang around, and it doesn't make sense now you're doing four nights at Brighton Dome.

Another weird thing, related to that, is that all phases of your life exist simultaneously. As if you're responsible for them all, now. Actually, even this series, it's got in under the wire but if you were starting it from scratch now, you'd have to think about Europe and all these other things.

So the stuff's already That's interesting because, even though your feelings on shows like Mock The Week are well known, I wondered if you ever hanker for a format in which you could deal with bang-up-to-the-minute material, ripped from that day's headlines, rather than the broadly topical subject matters you deal with in Comedy Vehicle?

SL: Well, no. Because I associate that with the world of work. Because as well as doing temp jobs and doing circuit gigs in little pubs, for the first four or five years I was in London I was writing for Week Ending on Radio 4 and things like that, where you had to come up with topical jokes.

And a lot of the radio things that me and Rich did, and when we wrote for things like Armando Iannucci's show, you'd basically get all the papers, and then you'd do mathematical equations about how things fit together.

So it just feels like maths homework, to me. I did so much of it when I was young that it feels like an office job.

If there's a fifth series, what I'd try and do for that, if I did news stuff, is that I'd take all the names out of it.

And make it about big global trends in economics and so on. So you don't lock it down. For example, in the news today, scientists say we're in a new thing, not the Holocene age but the Anthropocene age.

Which means we now define our age as one where climate is controlled by man, which it previously hadn't been.

Well, that's not going away, is it? There's no danger of that feeling out-of-date. That's an example of something it would be good to do: broadly topical.

SL: I want us to stay in. Principally, above all, for environmental issues. For example, this [ gestures at London traffic in the street behind us ] is two or three times over EU limits, out here.

And what Boris Johnson — who wants to leave — does, to avoid the fines, is that when the particles get too heavy, he sends people with anti-freeze to spray the air around the readers, so the particles stick to the ground.

That is documented. Because he doesn't want to pay the fine, he'd rather do that. He's let two of the machines go offline in central London and not fix them.

But the reason we've got clean rivers, the return of various species, the last line in our battle for the defence of the environment against capitalism is the weird EU laws that say, 'You must have ten birds in this wood', and stuff like that.

And everyone takes the piss out of them, but everything's dying at a hell of a rate. So above all, I'm pro-EU for environmental reasons.

I want Europe to defend us, and our environment, against our own government. And other things, like disabled access is all because of the EU.

And if you've ever been on the wrong side of a moral panic — and I'm talking about the Jerry Springer: The Opera thing, not the ATP thing — then things like the European Court of Human Rights would be very important to you.

It's all very well people being against it when they've never been threatened with being tried for blasphemy or whatever, but at some point you might be the one who would benefit from cross-territorial human rights legislation.

All the stuff about money and trade agreements, fine, talk about that till you're blue in the face. But that's my reason.

So I think all those things are reasons to stay in. And also because it will annoy Boris Johnson. Do you think there's an argument that Boris Johnson's the most dangerous politician in Britain, and could be our Donald Trump, because people think he's 'a bit funny' and ignore his underlying agenda?

But Johnson has no views or values whatsoever, about anything. It's all about positioning himself. Actually, though, you watch Gogglebox , and all the people on their sofas see through him instantly.

Which is very gratifying. But they also all said, the people on Gogglebox who I think of like my friends, 'We've not got enough information to decide.

In the live show, last year, there was a routine involving an England flag covered in cat diarrhoea, and the cat responsible was called Paul Nuttall From UKIP.

In the TV show, the cat's called Jeremy Corbyn. Why the switch? Then within two weeks of the election, that whole routine fell off a cliff, because no-one was the least bit interested in him, or could remember who he really was.

And I thought that was a shame, cos it was a good half hour, that. I did it one last time, at the start of September in a pub in Kingston, to prove to myself that it wasn't working.

But then, that week, Corbyn got in trouble for not going to the rugby match, and not singing the national anthem. So, ideas of national identity are still such a big deal, but they're not attached to UKIP now.

They're attached to attacking Corbyn. So I thought, how can I bring him into the same story? SL: I think he's an object lesson, in the way that the press have decided that whatever he does, they'll tear it apart.

Just when I was starting to root for Cameron, when he was standing up for Europe, the next day he was really really pathetically rude to Corbyn in Parliament.

Corbyn's like this weird Christ figure whose very presence reveals everyone else to be horrible cunts. But, you know, he is a Eurosceptic and I'm pro-Europe, and I'm not convinced about his defence position, all sorts of things.

But it's nice that our children will grow up with an experience of what the Left meant. The new series contains possibly the most avant-garde thing you've done so far.

There's a routine about the columnist Rod Liddle always looking like he's got food on him, and it ends with you just making a chomping sound into the microphone for five minutes, like Paul McCartney chewing celery on 'Vega-Tables' by The Beach Boys.

And you've somehow got that onto national BBC television. SL: That's partly what I hope people will find funny about it. Not the thing itself, but the fact that it is on television.

You know what's sad about that is, I filmed the shows in December, and all the dates had sold out so I added some more in January and February, but most of the routines peaked around the time I filmed it for telly.

One, sadly, went off the boil round about September and I couldn't get it back, so I had to let it go. But one got better. And the one that got better was that one.

I worked out how to time it, to make it funnier, even though there's no words in it. SL: That's what I want, you know? In the first series I managed to get them to make trailers that were all silent.

But they won't do it again, so I'm trying not to give them any. They haven't noticed, though. Another thing that makes it even funnier is that Rod Liddle isn't even a towering cultural figure, really.

It's not like he's Katie Hopkins. A lot of people won't really know who he is. SL: There's something funny about it being Rod Liddle, where people will think 'I'm not actually sure who he is, and why has he got food on him?

It doesn't really matter either way. And the other thing with that is, when you make a joke about politicians, what happens is that all those bloggers and those people in The Daily Telegraph and The Times , they all go online.

And the worst one is Tim Montgomerie, who has no sense of humour whatsoever. No-one would think this. No-one would think that, it's for comical effect.

So he's the one with the biggest power and the least grasp of nuance. But if you do a joke, you go der-ner-ner-ner-ner-ner-ner, ner-ner-ner-ner-ner, bang-bang , about the news, then they go mer-mer-mer-mer , picking it apart in a sneery way.

Because they don't have a sense of fun, or of the absurd, any of those people, it means that what they absolutely can't cope with is something about food being on one of them, that goes on for ages.

Because they sort of think, 'Ah yes, what's this all about? For all the boundary-breaking stuff you do, it can't be denied that a lot of what you do involves gross-out humour, giving people permission to laugh very easy laughs.

The dog's cock in your face, vomiting into the gaping anus of Christ, and so on. In lieu of zingers and one-liners, there is that stuff, for lo-com-denom laughter.

SL: Well, yeah, but normally it's connected to some sort of idea. I dunno, we'll see what happens next. Every series feels like I've got to the end of a particular idea.

But there is also a small but significant extent to which you're a catchphrase comic. For example, there's a bit where you're talking about someone collecting mini pots of jam, and you say "He likes all the different types of jam SL: You know what, it's interesting you mention that, because originally I was saying, 'He likes all the different types of jam If I do that, get in touch with me and I'll give you a writing credit.

Because the idea of 'plain jam' really made me laugh. Cos what would it be? Just gelatine of some sort.

But my dad did really like jam. He used to be a rep for a cardboard company, and he spent a lot of time in hotels, and he would being all the little pots of jam back.

He never bought jam, but always had a lot of small pots of jam. I'm the same. I've got enough shampoo for ever, now.

It's as if you're giving people reward points for loyalty, if they get the little in-joke. The producer wanted to cut that bit, cos he thought it was only funny if you knew the other one.

But I thought 'plain jam' was funny anyway. Of course, you also play with the idea that the audience don't follow what you're doing at all, and are unreceptive to it.

That becomes part of the plot, almost. SL: I noticed the first few pieces about the telly show, a lot of them have picked up on how in the first episode I say something about how the room's cold and unfriendly.

And they've written 'He does well, despite what he admits is a cold, unfriendly room. I have to offer up this story, saying, 'I can see you're uneasy.

To put you at your ease, I'll tell you why I genuinely like Graham Norton Because if it looks like he intended to say it, it would look really gratuitous.

But if you accidentally end up in a position where you're pretending to be James Corden spitting on the prostrate body of Graham Norton, but it wasn't your plan, that's sort-of acceptable.

And you have to give them permission to laugh again. It's become a critical term, that phrase, 'permission to laugh', and I'm not exactly sure where it came from.

But I have to pretend that the room is a struggle, to allow me to do that. And you'd think, if you watched it, that would be obvious to a critic, because it sets up the next bit.

That Graham Norton bit reminded me of Columbo , in the sense that from the moment you say you're really pleased for Graham Norton, we all know where it's going to end up.

But the fun is in seeing how you get there. SL: You know what, right. I don't watch much telly, but in the last two years I've watched every single episode of Columbo.

My wife loves it, and she said 'You've got to watch this.

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