"I haven't really got much get up and go. I can't believe I'm on the telly. I'm so lazy"
About this Quote
Self-deprecation can be a shield, a punchline, and a status play all at once, and Allan Carr squeezes all three into a few ungainly sentences. “I haven’t really got much get up and go” opens with the kind of homespun phrase that sounds like someone talking to a neighbor, not an audience. It’s an anti-introduction: he refuses the myth of the driven auteur before anyone can impose it on him. Then comes the pivot: “I can’t believe I’m on the telly.” That line isn’t just surprise, it’s class-coded disbelief at crossing a cultural threshold. Television here functions as a public coronation, and Carr treats it like an accident.
The last beat, “I’m so lazy,” is the most strategic. It’s not confession so much as preemptive disarmament. By calling himself lazy, Carr controls the narrative around his persona: if critics or interviewers want to puncture the ego of a director, he’s already done it for them. There’s also a sly acknowledgment of the machinery behind screen success. Directing is collaborative, industrial, exhausting; claiming “laziness” can be a way to imply that the real feat is surviving the apparatus, not romanticizing it.
Context matters: a director on TV is being asked to perform charisma, to become a face. Carr’s line resists that demand. He keeps the focus on the absurdity of visibility, not the nobility of ambition. The comedy lands because it’s insecure and knowing at the same time: a working professional pretending to be astonished by his own legitimacy, just to remind you how weird celebrity still is.
The last beat, “I’m so lazy,” is the most strategic. It’s not confession so much as preemptive disarmament. By calling himself lazy, Carr controls the narrative around his persona: if critics or interviewers want to puncture the ego of a director, he’s already done it for them. There’s also a sly acknowledgment of the machinery behind screen success. Directing is collaborative, industrial, exhausting; claiming “laziness” can be a way to imply that the real feat is surviving the apparatus, not romanticizing it.
Context matters: a director on TV is being asked to perform charisma, to become a face. Carr’s line resists that demand. He keeps the focus on the absurdity of visibility, not the nobility of ambition. The comedy lands because it’s insecure and knowing at the same time: a working professional pretending to be astonished by his own legitimacy, just to remind you how weird celebrity still is.
Quote Details
| Topic | Funny |
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