World Film and Television Progress (1937-1938)

w orld news AND TELEVISION PROGRESS (INCORPORATING CINEMA QUARTERLY) VOL. 2 NO. 5 PRICE: ONE SHILLING AUGUST 1937 THE REASON I'M GOOD I go to the pictures "Good evening, Mr. Miller," I said .... "Which do I prefer? Films or this? This, of course, because you get your laughs, see. You can wait for your laughs. If you don't get your laughs you can gag. You know, put across something. In a film you put 'em across cold. But it's all right afterwards. You can sit back comfortable and see the boy's good. It's funny how different your voice sounds on the film though, ain't it? The first time I heard it my stomach went like that. Yes, like that. Honest. I said 'that ain't me.' But it was. Like that my stomach was going. "No, but I reckon we ought to copy the Americans. Why? Because they know how to put over a gag. If it's a good one, they chuck it over natural like and have another ready behind it. "The reason I'm good is I go to the pictures. Never labour a gag, I say. Some English comedians are so pleased with a good gag that they make it an act. I'm always looking for gags. I'm a good comic because I live at Brighton. I try all my gags on the boys on the train. If an English comic lives in London he goes to bed at three and gets up at four the next day. If the wife's out, he's got no one to try his gags on. "The director? He's got to know your type of stuff. I've had some — I said I wouldn't do it anymore — but Bill Beaudine, he's all right — he's an American, see — so he knows comedy. He comes to me and says, 'Here's the lines for the next bit, Max.' And maybe I say, 'They stink, Bill. How about me taking a cup of coffee and working out a few MAX MILLER TALKS TO HARRY WATT gags?' And if he likes them they're all right, see. But if he says 'No' then they're out. He's American, see. "That's right. Always must have pathos. There's a boxer in my last picture — big he was, like that — I treat him like a baby. Honest, just like a baby. But I wouldn't play with kids in a picture. Always steal the picture they do. Might as well let them have the picture and get on with it. "The first film I did was The Good Companions. 'It's a nice little part, Max,' they said. I was playing Birmingham that week. I dropped in on the Sunday and walked right on and did the bit. Music plugger I was. Twenty minutes it took me. Like the Americans, see. Just work your gags natural and easy. And reckon on your audiences getting the point. The trouble with English comics is that they think they've got to repeat a gag ten times before the audience catches on, see. The Americans know that if a gag doesn't catch first time, it's a lousy gag. So they've got another one ready. "Yes, I know I'm an English comedian, but I use the American style. You've got to nowadays. English humour's out of date. It creaks. I get more ideas for gags talking to an American for five minutes than to an Englishman for five hours. The Americans know all the answers. They're quick, see. They're funny even when they're not trying to be. They're alive. "Of course there's a future for British comedies. But they must move fast. And none of this la-di-da stuff. Big laugh in Educated Evans was when I was sitting with a posh girl — all dressed up she was — and the waiter says 'Dinner is served.' 'Put it back in the oven, I'm not ready,' I says. Real high society it was. But I brought it down to earth. Real life stuff you want, of real people. Like you and me, see. Well, I've got to see a man round the front of the house. Why don't you drop in and see the show next week, chum? Good-night, pal." "Good-night, Max," I said.