Is the funniest line in cinema history... improvised?

What's so funny about "Biggest Dickas"? I have a very great friend in W called Biggest Dickas Silence. What is all this insolence?

And in one part of it, I actually crack up myself. It's a scene I'm facing Chris Langum and I say, "So what is so funny about my friend? " When I say the name P.

Dick, I made myself laugh. It's pathetic, you know, and I'm trying to turn away from the camera. This is one of the funniest scenes of all time.

Anybody else feel like a little giggle when I mention my friend from Monty Python's biblical movie "Quiet Mom"? I call you, I sing, which tells the tale of a guy born on the same day as Christ and is accidentally mistaken for another Messiah. Real Messiah?

I'm not the Messiah. Only his name wasn't Jesus. Brian, eh?

No, no, Brian. Although with that premise, not everyone liked "Life of Brian" back then. I mean, I'm familiar with undergraduate humor.

You made some rather bad jokes by producing the sort of buffoonery. And the point is that the reason why the scene is so good is that you can't distinguish what's acted when I mention my friend and what's not. You see, the joke here is that the Roman soldiers have to hold back their laughter, and of course it keeps building up every time Pilot innocently repeats his friend's name.

"Wait, you're bigger stickers of this way! Take him away! Oh, sore!

No, no! " Making it more and more absurd. But that in itself is part of an even bigger joke.

Because on your first viewing of the movie, you would have no idea how much of that laughter was what the actors really intended to show and how much of it was them breaking character. He has a wife, you know. But okay, let's get straight to the point.

How much of it was improvised? You know what she's called? Well, getting the answer is easy if you just flip through the script.

Because by reading it, you'll see that almost the entire scene was filmed exactly as it was written months ago. However, when it gets to the climax, you'll discover there's just one line in the script that was changed. And that line is "Inon".

But because originally, his wife, she's called F. L. had a different name.

F. L. Titus.

In case you're wondering, what you are hearing is a table read by the crew. And as you'll see, they have no problems faking laughter. The problem with shooting the scene is that you have lots of different sort of setups and all that.

And in each one, people have to be just on the verge, absolutely collapsing with laughter. And after four hours, that's quite difficult. But of course, as Michael Palin says, faking laughter for so long must be tricky.

So at some point, you need a stimulus. But I think, you know, incontinent your buttocks came out purely 'cause I whispered in someone's ear just to get them going. And here is the reaction in what of this.

But to be honest, good morning, Michael. This is one of Michael Palin's most powerful and least recognized silent tools. Michael has break in for both himself, this is nine, and his stage partners.

"Wake up, all now. That's what I call a dead p-stun. Yeah, you stunned him just as he was waking up.

Norwegian blue stun. Easily. You probably know the dead parrot sketch, but in case you don't, 'Hello, I wish to register a complaint.

' It's a Monty Python's Flying Circus sketch featuring John C. and Michael that first aired in '69 and has since been done a billion times in the '70s. 'No, no, it's resting.

Look, look, my that. I know a dead parrot when I see one. And I'm looking at one right now for the past decade.

No, no, he's resting. All right? His rest, you know, wake him up.

'Hello, Mr Poly Per, I've got a nice fresent for you if you wake up. ' TV shows, there he moved, there he did. That was you pushing the cage.

Yes, you did. 'Hello, Poly Per, we're in movie format. Why are you changed?

' And for some reason, even Margaret Thatcher has done it. 'This is an exot and the most interesting thing about this sketch is how after performing it thousands of times. Michael still occasionally breaks P.

' For the and for some reason, that's always the highlight for the audience, but, it's not always who does it. Sometimes it's his partner John C. And at moments, it becomes a competition to see who breaks whom first.

And he would win hands down. 'Look at that, why do he get it for incredible? I've never seen him do that before.

' I always always have enjoyed performing with Michael because we kind of tried to break each other up. And I think that's the thing that allows us to watch a thousand versions of this without getting bored. Although the script remains the same, the joke isn't in the text anymore.

It's in the interaction between these two guys on stage. And because the timing is different and their performance becomes different, and you see Mike breaking up, he often starts laughing. 'What kind of talk is that?

' In case you didn't know, this is the great Terry Jones, another one of the Pythons. Who directed 'Life of Brian' and who also played Brian's mother in the movie. 'Hello, mother.

Don't you help out mother me. What are all those people doing out there? ' Although I didn't hear him talk about the biggest dick scene, I think these words apply to all their work together.

Because for them, improvisation isn't just a creative tool. It's also a way to influence your scene partner. Here's Johnny.

You see, most actors who improvise. . .

Tweak the script. Do it like stirring up something new. But only a handful of comedic performers improvise with the intention of eliciting a reaction from their scene partner.

She thinks, "Funny is this? Is this funny to you, Phyllis? " And understand that this interaction is the essence of the scene.

Not have my friends ridiculed by the common soldier. Michael Palin isn't acting to steal the spotlight. He gets that the joke is not him speaking funny or dropping funny names, but in the reaction of his co-performers, incon.

What? I don't know. Maybe I'm just overanalyzing a Monty Python scene.

But what you can't deny is that this dynamic of influencing others through improvisation I am dead is constantly present in their work. Dead? That's what's wrong with it.

He's such a funny man; he can always say something to break me up, you know? And when we did it onstage, it was always our sketch, and people would start off, um, it would become a riot, and he would start changing the dialogue. So it is for them, acting is almost like a game, and that's what makes "Life of Brian" so memorable.

Well, if it's not a personal question, are you a virgin? If it's not a personal question. .

. I remember once we had a special screening of the "Life of Brian," and we laughed so embarrassingly loudly. It was just.

. . I felt that people are thinking, "Come on, they're onto something, you know?

" And I think that at some point, what really makes us laugh in this scene is the feeling that somehow the distance between us and the work is breaking down, almost as if we're not laughing at it anymore. What? It's all.

. . but with.

. . had enough of this ry websing behavior.