Little did I know that the Scottish guy that took over Howard Hessemans role on Head of the Class, Billy Connolly, would go on to become one of the funnier comedians working today. But over the past ten years Connolly has gotten more acclaim as an actor in films like Lemony Snicket's A Series of Unfortunate Events, The Last Samurai and SuicideGirls favorite Boondock Saints. But his new film, Fido, showcases Connollys best role yet. Fido is set in an alternate universe in 1950s America. A mysterious gas came down to Earth and turned all dead people into zombies. After the great zombie war, secure towns have been established and with the help of a special collar zombies can become servants and in some cases, peoples lovers. Connolly plays Fido, a zombie that has been brought into a family where the father is terrified of zombies. But the little boy in the family, Timmy, is being ignored by father and decides to adopt Fido as a pet. I got a chance to interview Billy Connolly during the Fido junket in Manhattan.
Check out the website for Fido
Daniel Robert Epstein: So I didnt recognize you the first 15 minutes of this movie. I kept waiting for you to show up and
Billy Connolly: And tell somebody to fuck off.
DRE: [laughs] Also your head seemed bulgier, did you gain weight for the role?
BC: No I think I was just fatter at the time. Maybe it was the collar. The collar was real tight on my neck. I noticed that in the movie myself.
DRE: I thought you were supposed to be a bloated dead person.
BC: Maybe, but it suited the role. I got bloated for the role. I took bloat lessons.
DRE: [laughs] I would imagine that youre not someone who needed to audition for this.
BC: No, they sent for me, which is nice. I think they had someone else in mind in the first place. I had worked with the producer Mary Anne [Waterhouse] on a film called Beautiful Joe with Sharon Stone. I came to mind for the role from that.
DRE: Were you more toned down in Beautiful Joe?
BC: Yeah.
DRE: Did you do any kind of research for this?
BC: Well theres no research to be done because there are no zombies.
DRE: Not yet.
BC: So any research that you would do is watching zombies in other movies and you dont want to be doing that. I decided to play it like a disabled man; a guy who couldnt communicate, whose limbs are not much use to him. I only had my eyes to work with. I had no voice or anything. I couldnt make signals with my hands so I just had to convey with my eyes what I meant and I decided to go that way. When you look at it, thats the way you go any way in a movie; the acting is mostly done with the eyes. You dont get far flapping your arms around making big signals. You listen with your eyes onscreen, you dont listen with your ears. Ive been very fortunate that instinctively it proved right. I dont run back to the video playback and see how Im doing, which is a great temptation. I find that if I do that then I start impersonating myself and it ends up looking hammy. When I saw the film the other night, I laughed out loud a couple of times because I had never seen myself doing this thing. I dont look like him anymore so it was like watching someone else. A couple of guys behind me exploded into laughter and I just joined in. Its a nice feeling to do it right.
DRE: Did you practice Fidos eye movements in the mirror?
BC: No because if you practice in the mirror youre looking the wrong way. Its like trying to practice as a comedian. You cant practice with no one in the room. If youre practicing into a tape recorder or whatever, youre not practicing properly because youre not feeding it to a live person which is what youre going to be doing. Theres no practice you can do really. What you have to do is convince yourself that youre doing the right thing. As you get older you trust your instincts less and less in your life. You dont trust your first decision as quickly as you used to. You become more safety conscious and you listen to that other voice all the time saying, No dont do that, the one that partly keeps you safe and partly stops you doing anything.
DRE: Did you study animals at all?
BC: No I didnt. Ive never done that. Im very simple. I had to just remember my growls and trust my instinct. I think you can take that stuff too far with the animal thing and all that. A lot of its good but a little of it goes a long way.
DRE: Fido is set in 1950s Walton type America, was the 50s in the UK similar to how it was over here?
BC: No, the 50s were in black and white in the UK. It was in color in America. I was there. Trust me it was black and white. American culture is British culture and world culture. The world shares a nostalgia with America thats American. The nostalgia is usually wrong. Its not about the way America was in the 50s. Its the way American television was in the 50s. Its the way people dressed and the cars they drove. This isnt most peoples recollection of the 50s. Its Hollywood fantasy of the 50s.
DRE: You used to get compared to Robin Williams a lot when you first came over here. When he does a quieter role they say he really blows off steam between takes.
BC: Robins life is that. Hes my pal and he does that 24/7 anyway. But I dont. Im quite happy. I do like messing around and having fun with the kids on the set and all that, laying traps for people with fishing line. I love fishing line, its a godsend.
DRE: What do you do with fishing line?
BC: Pull things, move things.
DRE: I thought you were talking about tripping people [laughs].
BC: I love to get people to do double takes by making things fall down.
DRE: Do you think Helen has sex with Fido?
BC: I think, yes.
DRE: [laughs] Why not, right?
BC: Yes. Give him a break.
DRE: I love Carrie-Anne Moss and you dont get to see her in these kinds of roles that often. How was it working with her?
BC: It was brilliant. She actually was pregnant during the film. Like all pregnant women, she spoke about babies all day and Ive got five kids so it was cool by me. We got on very well. I really enjoy her company.
DRE: Whenever Dylan Baker and Henry Czerny show up in a movie I get a little nervous.
BC: They are just the best. Little Tim [Blake Nelson] is amazing and his love affair with Tammy next door. They are the solid heavyweights of American cinema and its a joy to be with them.
DRE: Are you a fan of zombie films at all?
BC: No, I wasnt. They all looked the same to me. I realize theres a whole zombie genre and I have no intention of hurting those fans feelings but I wasnt all that mad about being in a zombie movie. Then I read the script and realized it was a comedy with zombies in it and thats okay. If youre going to be in a zombie movie, be a zombie. Dont be one of the other guys going Help!
DRE: Whats Andrew Currie like as a director?
BC: Hes very quiet. Hes quietly forceful. He gets his own way eventually but hes very gentle. Everybodys got a different way of doing it and his seems to be with gentleness and kindness.
DRE: It must be rare to have a director that has such vision.
BC: His vision is actually old fashioned and very refreshing. Ive always felt that the director is the one who should have vision instead of somebody whos the director because they signed a five picture deal. Its great to work with directors who wanted to be directors, who didnt end up there for some other reason.
DRE: Youre still in very big movies like Lemony Snicket but Fido seems like it could push your career in a very interesting direction.
BC: I have absolutely no idea what will happen with Fido. Its just a lovely thing. It depends on the market and how its received. I hope it lasts for a long time because its very worthwhile and original.
DRE: What made you decide to move to America?
BC: My kids are going to school over here.
DRE: How old are they?
BC: The eldest one, Cara, is 23. Shes been over here for a while. Amys 20, Scarletts 18 and she goes to Bard.
DRE: I speak to a lot of comedians who do dirty stuff. At what age did you let the kids see your stuff?
BC: From day one.
DRE: No!
BC: Yeah, if you think its dirty, dont fucking do it. Its all in what your values are. My values are okay. My kids have seen me since they were ten and eight and stuff like that. I remember after a show I asked one of my daughters, Did you enjoy it? She said, Oh that was so funny. I asked her what her favorite bit was and it was the one about a girl with a pierced clitoris who had wind chimes hanging from them. She thought it was the funniest thing shed ever heard.
DRE: How old was she?
BC: She was about 12. A lot of kids are brighter than you give them credit for. They know stuff and when your dad is up there making you scream with laughter about things you know about, its actually a good thing.
DRE: I just interviewed Sandra Bernhard and shes got an eight year old. I guess shes got four more years until she can show her the clitoris jokes.
BC: Yeah, that stuff isnt the problem. The big problem is keeping your kids away from shi heads that are going to sell them drugs and the way you do that is by the truth. Theres no other way. You have to tell them the fucking truth about the way the world actually is and if you tell them lies they will find out and they might find out in detox when its too fucking late.
DRE: You didnt look super happy when I mentioned Head of the Class as you first came into the room.
BC: Oh no, its lovely.
DRE: Thats how people of my generation discovered you.
BC: Absolutely.
DRE: We didnt know who the hell you were when you took over the show.
BC: It was very exciting for me. I met [Head of the Class] producer Michael Elias at a party in London and he was very big on comedy. Plus hes Jewish and I was into Shecky Greene and all those guys. We were talking about all the guys we knew and Lenny Bruce and all that. Comedy this and comedy that and he had written The Jerk with Steve Martin. So we had a lot of common ground. Then he got in touch with me and offered me it completely out of the blue. I said Oh, Ill give it a bash. Yeah, why not.
DRE: Brian Robbins was still there, right?
BC: Oh yes. Hes a big shot now.
DRE: I met him a few years ago and he seemed like a bit of nebbish. I asked him where the leather coat was and he didnt seem happy about that. Could you tell he was such a smart kid?
BC: No, that threw me completely by surprise. He was confident in his work but he seemed shy to me. [Dan] Schneider was loud and stuff and the guy who played the geek
DRE: Arvid [played by Dan Frischman].
BC: Yes he was very sensible and very nice, lighthearted and funny man. Schneider was loud but Brian was quiet. Between takes Brian would be talking to somebody quietly over on the side. But hes just private, I think.
DRE: Now hes one of the biggest producers and directors in Hollywood. Hes really rich. [laughs]
BC: He was rich then!
DRE: I asked Willem Dafoe if he had seen that documentary Overnight about [Boondock Saints director] Troy Duffy. He said he hadnt seen it but he heard about it and he said that he has issues with those guys who directed Overnight because they interviewed him for six hours but only put a few minutes into the film.
BC: Well I am so glad Willem said that and I knew he would because hes a nice man. That is such a hatchet job.
DRE: Did you see the whole film?
BC: No. Ive only seen reports of the film. Im one of the guys that are supposed to have been bullied by Troy. He never bullied me for a second. Troy is not a namby pamby, limp-wristed film guy. Hes a rock and roll guy. Hes an Irish American Boston guy and he has a rock band. Hes a very good writer and hes a very bright man and he doesnt fuck around. He doesnt suffer fools gladly and Im very comfortable with that. I never saw him bullying anyone. Maybe I saw him raising his voice but I dont mind raised voices.
DRE: Working on movie, sometimes youve got to do that.
BC: Yeah youre dealing with a lot of problems. Those guys were supposed to be doing the making of and thats why they got all the interviews. Then when they thought it wasnt going to become a movie they did a wee hatchet job to make some money. Troys life is unfortunate enough with all the legal bullshit. He never made a penny from that fantastic movie that keeps going on and on and on. Every new wave that goes to college gets into it again. Its forever.
DRE: Norman Reedus is still friends with Troy and he told me that Troy does have a Boondock Saints 2 script.
BC: He does, Ive read it. As a matter of fact, Ive read two. Ive read the first one which I didnt like all that much. But the second one is great and hes now working on a third one.
DRE: Is your role expanded?
BC: Well, I think this is the end for me. Ill get killed. I always get killed anyway. Fido is a good one because I was killed before the movie starts. I love dying.
DRE: What was it like to wear that costume on Boondock Saints?
BC: Its a dream come true to wear six 9mm pistols on your vest. When I arrived to start shooting I had a cigar and I was sitting outside my trailer blowing some smoke and he said, Use that, Ill get you some cigars. Yeah that looks great. Do that! The entire cast believed in it. They all still believe in it which is wonderful. Theyre all delighted that its still got life and legs.
DRE: Do you still do standup?
BC: I do it all over the world. About five months ago I did six weeks of standup in New York. I start in Boston on Tuesday night.
DRE: Are you someone that tapes your improv on stage when youre taping?
BC: I dont tape it, I just improv and try to remember it.
DRE: You must be pretty good at that by now.
BC: No, Im getting worse. But what I find is that you remember the best and you disregard the stuff you dont remember. If you havent remembered it then it probably isnt worth remembering.
DRE: Are you working up to do a special or anything like that?
BC: No. I just go on with my life. I dont care about specials. Every now and again, I bring out DVDs.
DRE: I saw a biography of you from the 1970s wearing the disco suit. How did you come to that persona?
BC: I always had this peculiar idea of being remembered. I used be a folk singer and I would turn up at the club in my jeans and my banjo and my guitar and the club owners didnt even know I was there. They booked me from a brochure or something. I would be right there but I would hear the club managers going, Is he here yet? I wanted to make sure they would know I was there so I started wearing very wild clothes and stuff like that. It worked brilliantly.
DRE: Do you still play music now?
BC: I still play, but just at home. I dont do it on stage at all.
DRE: Do you have any desire to write movies?
BC: I have no desire to do so. Ive had ideas. I sat down to write them down and I fumbled my through it and eventually stopped.
DRE: You used to have that great bit about the work fuck. How are you doing in this new age of censorship?
BC: I dont care about censorship. It hasnt affected me at all. When it affects me Ill care about it but until then I just get on with my life as normal and talk about the things Ive always talked about in the way Ive always talked about them.
DRE: [laughs] But you must see how it affects other people and things like that.
BC: I dont care. Thats not my world. They can do what they like. Fuck them all.
by Daniel Robert Epstein
SG Username: AndersWolleck
Check out the website for Fido
Daniel Robert Epstein: So I didnt recognize you the first 15 minutes of this movie. I kept waiting for you to show up and
Billy Connolly: And tell somebody to fuck off.
DRE: [laughs] Also your head seemed bulgier, did you gain weight for the role?
BC: No I think I was just fatter at the time. Maybe it was the collar. The collar was real tight on my neck. I noticed that in the movie myself.
DRE: I thought you were supposed to be a bloated dead person.
BC: Maybe, but it suited the role. I got bloated for the role. I took bloat lessons.
DRE: [laughs] I would imagine that youre not someone who needed to audition for this.
BC: No, they sent for me, which is nice. I think they had someone else in mind in the first place. I had worked with the producer Mary Anne [Waterhouse] on a film called Beautiful Joe with Sharon Stone. I came to mind for the role from that.
DRE: Were you more toned down in Beautiful Joe?
BC: Yeah.
DRE: Did you do any kind of research for this?
BC: Well theres no research to be done because there are no zombies.
DRE: Not yet.
BC: So any research that you would do is watching zombies in other movies and you dont want to be doing that. I decided to play it like a disabled man; a guy who couldnt communicate, whose limbs are not much use to him. I only had my eyes to work with. I had no voice or anything. I couldnt make signals with my hands so I just had to convey with my eyes what I meant and I decided to go that way. When you look at it, thats the way you go any way in a movie; the acting is mostly done with the eyes. You dont get far flapping your arms around making big signals. You listen with your eyes onscreen, you dont listen with your ears. Ive been very fortunate that instinctively it proved right. I dont run back to the video playback and see how Im doing, which is a great temptation. I find that if I do that then I start impersonating myself and it ends up looking hammy. When I saw the film the other night, I laughed out loud a couple of times because I had never seen myself doing this thing. I dont look like him anymore so it was like watching someone else. A couple of guys behind me exploded into laughter and I just joined in. Its a nice feeling to do it right.
DRE: Did you practice Fidos eye movements in the mirror?
BC: No because if you practice in the mirror youre looking the wrong way. Its like trying to practice as a comedian. You cant practice with no one in the room. If youre practicing into a tape recorder or whatever, youre not practicing properly because youre not feeding it to a live person which is what youre going to be doing. Theres no practice you can do really. What you have to do is convince yourself that youre doing the right thing. As you get older you trust your instincts less and less in your life. You dont trust your first decision as quickly as you used to. You become more safety conscious and you listen to that other voice all the time saying, No dont do that, the one that partly keeps you safe and partly stops you doing anything.
DRE: Did you study animals at all?
BC: No I didnt. Ive never done that. Im very simple. I had to just remember my growls and trust my instinct. I think you can take that stuff too far with the animal thing and all that. A lot of its good but a little of it goes a long way.
DRE: Fido is set in 1950s Walton type America, was the 50s in the UK similar to how it was over here?
BC: No, the 50s were in black and white in the UK. It was in color in America. I was there. Trust me it was black and white. American culture is British culture and world culture. The world shares a nostalgia with America thats American. The nostalgia is usually wrong. Its not about the way America was in the 50s. Its the way American television was in the 50s. Its the way people dressed and the cars they drove. This isnt most peoples recollection of the 50s. Its Hollywood fantasy of the 50s.
DRE: You used to get compared to Robin Williams a lot when you first came over here. When he does a quieter role they say he really blows off steam between takes.
BC: Robins life is that. Hes my pal and he does that 24/7 anyway. But I dont. Im quite happy. I do like messing around and having fun with the kids on the set and all that, laying traps for people with fishing line. I love fishing line, its a godsend.
DRE: What do you do with fishing line?
BC: Pull things, move things.
DRE: I thought you were talking about tripping people [laughs].
BC: I love to get people to do double takes by making things fall down.
DRE: Do you think Helen has sex with Fido?
BC: I think, yes.
DRE: [laughs] Why not, right?
BC: Yes. Give him a break.
DRE: I love Carrie-Anne Moss and you dont get to see her in these kinds of roles that often. How was it working with her?
BC: It was brilliant. She actually was pregnant during the film. Like all pregnant women, she spoke about babies all day and Ive got five kids so it was cool by me. We got on very well. I really enjoy her company.
DRE: Whenever Dylan Baker and Henry Czerny show up in a movie I get a little nervous.
BC: They are just the best. Little Tim [Blake Nelson] is amazing and his love affair with Tammy next door. They are the solid heavyweights of American cinema and its a joy to be with them.
DRE: Are you a fan of zombie films at all?
BC: No, I wasnt. They all looked the same to me. I realize theres a whole zombie genre and I have no intention of hurting those fans feelings but I wasnt all that mad about being in a zombie movie. Then I read the script and realized it was a comedy with zombies in it and thats okay. If youre going to be in a zombie movie, be a zombie. Dont be one of the other guys going Help!
DRE: Whats Andrew Currie like as a director?
BC: Hes very quiet. Hes quietly forceful. He gets his own way eventually but hes very gentle. Everybodys got a different way of doing it and his seems to be with gentleness and kindness.
DRE: It must be rare to have a director that has such vision.
BC: His vision is actually old fashioned and very refreshing. Ive always felt that the director is the one who should have vision instead of somebody whos the director because they signed a five picture deal. Its great to work with directors who wanted to be directors, who didnt end up there for some other reason.
DRE: Youre still in very big movies like Lemony Snicket but Fido seems like it could push your career in a very interesting direction.
BC: I have absolutely no idea what will happen with Fido. Its just a lovely thing. It depends on the market and how its received. I hope it lasts for a long time because its very worthwhile and original.
DRE: What made you decide to move to America?
BC: My kids are going to school over here.
DRE: How old are they?
BC: The eldest one, Cara, is 23. Shes been over here for a while. Amys 20, Scarletts 18 and she goes to Bard.
DRE: I speak to a lot of comedians who do dirty stuff. At what age did you let the kids see your stuff?
BC: From day one.
DRE: No!
BC: Yeah, if you think its dirty, dont fucking do it. Its all in what your values are. My values are okay. My kids have seen me since they were ten and eight and stuff like that. I remember after a show I asked one of my daughters, Did you enjoy it? She said, Oh that was so funny. I asked her what her favorite bit was and it was the one about a girl with a pierced clitoris who had wind chimes hanging from them. She thought it was the funniest thing shed ever heard.
DRE: How old was she?
BC: She was about 12. A lot of kids are brighter than you give them credit for. They know stuff and when your dad is up there making you scream with laughter about things you know about, its actually a good thing.
DRE: I just interviewed Sandra Bernhard and shes got an eight year old. I guess shes got four more years until she can show her the clitoris jokes.
BC: Yeah, that stuff isnt the problem. The big problem is keeping your kids away from shi heads that are going to sell them drugs and the way you do that is by the truth. Theres no other way. You have to tell them the fucking truth about the way the world actually is and if you tell them lies they will find out and they might find out in detox when its too fucking late.
DRE: You didnt look super happy when I mentioned Head of the Class as you first came into the room.
BC: Oh no, its lovely.
DRE: Thats how people of my generation discovered you.
BC: Absolutely.
DRE: We didnt know who the hell you were when you took over the show.
BC: It was very exciting for me. I met [Head of the Class] producer Michael Elias at a party in London and he was very big on comedy. Plus hes Jewish and I was into Shecky Greene and all those guys. We were talking about all the guys we knew and Lenny Bruce and all that. Comedy this and comedy that and he had written The Jerk with Steve Martin. So we had a lot of common ground. Then he got in touch with me and offered me it completely out of the blue. I said Oh, Ill give it a bash. Yeah, why not.
DRE: Brian Robbins was still there, right?
BC: Oh yes. Hes a big shot now.
DRE: I met him a few years ago and he seemed like a bit of nebbish. I asked him where the leather coat was and he didnt seem happy about that. Could you tell he was such a smart kid?
BC: No, that threw me completely by surprise. He was confident in his work but he seemed shy to me. [Dan] Schneider was loud and stuff and the guy who played the geek
DRE: Arvid [played by Dan Frischman].
BC: Yes he was very sensible and very nice, lighthearted and funny man. Schneider was loud but Brian was quiet. Between takes Brian would be talking to somebody quietly over on the side. But hes just private, I think.
DRE: Now hes one of the biggest producers and directors in Hollywood. Hes really rich. [laughs]
BC: He was rich then!
DRE: I asked Willem Dafoe if he had seen that documentary Overnight about [Boondock Saints director] Troy Duffy. He said he hadnt seen it but he heard about it and he said that he has issues with those guys who directed Overnight because they interviewed him for six hours but only put a few minutes into the film.
BC: Well I am so glad Willem said that and I knew he would because hes a nice man. That is such a hatchet job.
DRE: Did you see the whole film?
BC: No. Ive only seen reports of the film. Im one of the guys that are supposed to have been bullied by Troy. He never bullied me for a second. Troy is not a namby pamby, limp-wristed film guy. Hes a rock and roll guy. Hes an Irish American Boston guy and he has a rock band. Hes a very good writer and hes a very bright man and he doesnt fuck around. He doesnt suffer fools gladly and Im very comfortable with that. I never saw him bullying anyone. Maybe I saw him raising his voice but I dont mind raised voices.
DRE: Working on movie, sometimes youve got to do that.
BC: Yeah youre dealing with a lot of problems. Those guys were supposed to be doing the making of and thats why they got all the interviews. Then when they thought it wasnt going to become a movie they did a wee hatchet job to make some money. Troys life is unfortunate enough with all the legal bullshit. He never made a penny from that fantastic movie that keeps going on and on and on. Every new wave that goes to college gets into it again. Its forever.
DRE: Norman Reedus is still friends with Troy and he told me that Troy does have a Boondock Saints 2 script.
BC: He does, Ive read it. As a matter of fact, Ive read two. Ive read the first one which I didnt like all that much. But the second one is great and hes now working on a third one.
DRE: Is your role expanded?
BC: Well, I think this is the end for me. Ill get killed. I always get killed anyway. Fido is a good one because I was killed before the movie starts. I love dying.
DRE: What was it like to wear that costume on Boondock Saints?
BC: Its a dream come true to wear six 9mm pistols on your vest. When I arrived to start shooting I had a cigar and I was sitting outside my trailer blowing some smoke and he said, Use that, Ill get you some cigars. Yeah that looks great. Do that! The entire cast believed in it. They all still believe in it which is wonderful. Theyre all delighted that its still got life and legs.
DRE: Do you still do standup?
BC: I do it all over the world. About five months ago I did six weeks of standup in New York. I start in Boston on Tuesday night.
DRE: Are you someone that tapes your improv on stage when youre taping?
BC: I dont tape it, I just improv and try to remember it.
DRE: You must be pretty good at that by now.
BC: No, Im getting worse. But what I find is that you remember the best and you disregard the stuff you dont remember. If you havent remembered it then it probably isnt worth remembering.
DRE: Are you working up to do a special or anything like that?
BC: No. I just go on with my life. I dont care about specials. Every now and again, I bring out DVDs.
DRE: I saw a biography of you from the 1970s wearing the disco suit. How did you come to that persona?
BC: I always had this peculiar idea of being remembered. I used be a folk singer and I would turn up at the club in my jeans and my banjo and my guitar and the club owners didnt even know I was there. They booked me from a brochure or something. I would be right there but I would hear the club managers going, Is he here yet? I wanted to make sure they would know I was there so I started wearing very wild clothes and stuff like that. It worked brilliantly.
DRE: Do you still play music now?
BC: I still play, but just at home. I dont do it on stage at all.
DRE: Do you have any desire to write movies?
BC: I have no desire to do so. Ive had ideas. I sat down to write them down and I fumbled my through it and eventually stopped.
DRE: You used to have that great bit about the work fuck. How are you doing in this new age of censorship?
BC: I dont care about censorship. It hasnt affected me at all. When it affects me Ill care about it but until then I just get on with my life as normal and talk about the things Ive always talked about in the way Ive always talked about them.
DRE: [laughs] But you must see how it affects other people and things like that.
BC: I dont care. Thats not my world. They can do what they like. Fuck them all.
by Daniel Robert Epstein
SG Username: AndersWolleck
VIEW 15 of 15 COMMENTS
mightyjoeaverage said:
bledwhite said:
To be fair, he was one of the funnier comedians long before head of the class.
Long live Sir Billy.
oh if only they would give him the Knighthood he so rightly deserves!!
agreed! an absolute legend in his own lifetime