- David Quantick is a writer, author and broadcaster, writing on shows like Veep and The Day Today, Harry Hill's TV Burp and the controversial Brass Eye.
He is also the author of the critically acclaimed horror novel All My Colors, published in the USA and the UK.
He began writing for the music publication NME and, with Steven Wells, he contributed to many of the humorous, snippet sections in the paper. He gained a reputation for incisive and witty observations on popular culture and music. Alongside rock journalism he was also submitting gags and sketches to British comedy shows such as Spitting Image.
In 1992 Armando Iannucci asked him to join the writing team for the radio comedy On The Hour after which he made the natural progression to the television follow up The Day Today (1994).
Quantick rejoined the Chris Morris/Armando Ianucci axis to write for Brass Eye with Jane Bussmann in 1997. The show caused huge controversy as Morris often does, and though Quantick's association with him on Jam (2000) was less explosive, the Brass Eye Paedophile Special was so controversial that Government ministers initially condemned the program (without having seen it).
With Jane Bussmann, he created the world's first online sitcom pilot - The Junkies, 1999 - and returned to working with Armando Iannucci on the final series of The Thick Of It and Veep.
He continues to write for television in the USA and the UK.- IMDb Mini Biography By: Graeme Payne and David Quantick
- SpouseKaren Krizanovich (divorced)
- "David Quantick is one of the best kept secrets in the world of writing. He's smart, funny and unique" - Neil Gaiman.
- The Manics [Manic Street Preachers] are great because there are layers to them. There were no bands who liked Guns N' Roses who weren't bad metal. No bands who liked The Clash who weren't crappy punk bands. And no band who could read, with the late example of The Smiths, who were any good. And the Manic Street Preachers, ludicrous and daft as they were, meant it.
- Once, frustrated by his refusal to answer any of my questions the way I wanted him to, I asked Tom Jones what it was like to be a sex symbol. He fixed me with a stern glare. "That to me," he said, "is like being asked by a cripple what it's like to walk." Hard to argue with that, really.
- You see artists make the transition from sexy to cult. Adam Ant now resembles Jack Sparrow's uncle. Kate Bush favours huge jumpers and sings from underneath a slanket, possibly. David Bowie, still more attractive than some species of songbird, stays at home. Sexiness becomes a hindrance to the serious artist, which is why Bob Dylan now dresses like his own cheap waxwork and Joni Mitchell positions herself as the angriest headmistress in the world. Even Tom Jones, whose entire career has been based on demonstrating to the world what a sexy penis would sound like if it could sing, has entered the world of anti-sex. He no longer dyes his hair or wipes his brow with ladies' undergarments.
- Has there ever been a more middle-of-the-road band than Bread? Songs like "Baby I'm A-Want You" and "Make It With You" make The Carpenters sound like Black Flag, while the sweetness and melancholy of "Diary" and "Everything I Own" suggest that the band's name was entirely apt in a soft, squidgy Mother's Pride kind of way.
- He's an anachronistic retro-dandy legend with superhuman intelligence and alien emotions, humanised by a faithful companion; quite why Doctor Who (2005) guru Steven Moffat was attracted to Sherlock Holmes is itself a mystery. That said, this Sherlock is a decent reincarnation of the great detective; allowing his recreation the updatedness started in the Rathbone [Basil Rathbone] years works, though at times Benedict Cumberbatch is less Sherlock and more Sheldon from The Big Bang Theory (2007). This second series piles on the flashiness and contains just enough detective ingenuity for old-school fans.
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