Richard Ayoade Quotations

Louis Malle is maybe one of my favorite directors, but I love Tarantino.

I find performing very difficult. It's difficult to be a good actor. I get very nervous, even though it sounds disingenuous, because you could legitimately go, 'Well, why do it?'

I actually prefer night shoots to days. I prefer being up. It's easier for me. I'm more of a night person.

I was directing before I started doing 'The IT Crowd.' It wasn't something that led on after acting I guess. I was sort of doing this stuff before acting.

I suppose I sort of like effects that have some organic elements rather than ones that are entirely generated by a computer. Just because, no matter how complex the algorithm is, it's still an algorithm.

My parents didn't go to university and weren't brought up in England. They hadn't heard of any other universities other than 'Cambridge' or 'Oxford.'

I've only ever really been in shows of friends, so I don't know exactly what happened. I think I'm incredibly cheap to hire. That can buy some traction. I'm as cheap as it's possible for an actor to be legally.

As in, I think 'Badlands' is one of the funniest films of all time: 'Every day I wish I was carried off to a magical land, but that never happened' is one of the funniest lines in any film.

I'm not sure I'd hire myself in anything. I certainly couldn't be an actor. That would be terrible. For everyone.

I like Roy Orbison's video for 'I Drove All Night' because it's so literal. It is just a man driving throughout the night. I like that silliness. To be in a video is a ridiculous thing. It's almost impossible to do it without any humour.

I don't really know what my personality is anyway. I don't really have one.

No. I really don't think I'm cool. I'm not.

As in, I think Badlands is one of the funniest films of all time: Every day I wish I was carried off to a magical land, but that never happened is one of the funniest lines in any film.

American television is very much created by the writers, just the volume of it. The writers are so key. You're just trying to do something that serves that script. And in general, film isn't all about the script, really.

I think there's nothing worse than telling actors what to do in front of everyone, because then on the next take, everyone's waiting to see if you do that ... Everyone watches. It's just the worst thing.

I only ever privately tell people stuff for the scene. And I often ask what they feel is right. Normally, by the time that we're filming, if it doesn't work, it always the script.

The most interesting part of filming is what the actors do. That's the primary link between the story and the audience.

With a live performance, you feel nervous because there's a sense it could do well or badly based on how well you are performing, whereas the only variable with a film premiere is technical, which invariably you have very little control over, whether the sound is good, whether the acoustics of the room are good.

I think people have the capacity to be many different things and many seemingly contradictory behaviors.

I'm pretty bad at seeing new films.

I've always felt that actors in my experience have a very good and accurate instinct about whether something feels right or not. They just have a sense because they have to literally do it.

To be in a video is a ridiculous thing. It's almost impossible to do it without any humour

I'm not a terribly social person, and so I have to really like people to work with them.

A writer/director is a tough thing to gauge when someone hasn't directed a movie before. You just don't know. Sometimes it will be a great script that's written beautifully, and then the director who has also written it does not have the facility to translate it.

Cars are good for entrances and exits. And there is something about driving that is quite cliched in a funny way. I like Roy Orbison's video for I Drove All Night because it's so literal. It is just a man driving throughout the night. I like that silliness. To be in a video is a ridiculous thing. It's almost impossible to do it without any humour.

When I do plays in New York and do eight shows a week, you have the same feeling. Three of them are terrible, four of them are okay and one is really good. It's hard to say what accounts for the really good one or for the terrible ones, but you end up trying to remanufacture whatever worked for the good one, like eating a tomato. I ate a tomato and the show was good, but that of course is not how it works.

The act of seeing any film generally is you knowing more than the characters, even if its the classic Hitchcock shot of two people talking and a bomb being under the table. Part of the pleasure of it is seeing where people go wrong, and the irony of situations.

A lot of comedies are based on the reaction shot. You have one person doing something stupid and one person is generally the straight man, and the laughs generally come on the reaction of the straight man to the funny thing the other person has done.

I try to write every day. Sometimes the things come out well, and sometimes they don't. When they come out well you think, Wow, I must be really great; and when they come out poorly, you think you must be terrible, but the truth is that's how any process works.

Why have a pet hate? Why should it be confined? My hate is both wide ranging and total.

I'm just terrible. At talking. With words.