"I'm a writer. Now I've started to be on television. I have a big mouth. And I have good TV teeth, they say"
About this Quote
There is a whole media-era origin story packed into Cojocaru's breezy self-description: the writer who migrates to television and has to remake himself as a product. He starts with craft and authority ("I'm a writer"), then pivots to the platform that actually confers celebrity now ("I've started to be on television"). The line breaks like a résumé, but the punchline is body-first: "I have a big mouth. And I have good TV teeth". It’s funny because it’s slightly mortifying - the kind of joke that admits the rules while pretending not to care.
The intent is disarming candor. A fashion critic survives on opinion, and opinion is inseparable from persona. "Big mouth" is both job requirement and liability: you need the nerve to judge other people's presentation while knowing the camera is judging yours. The teeth tag - "they say" - adds a layer of industry ventriloquism. He’s not even fully claiming the compliment; he’s quoting the invisible chorus of producers and publicists who reduce people to broadcast-ready traits.
Context matters: this is the late-20th/early-21st-century churn where print-era gatekeepers get pulled into a TV ecosystem built on immediacy, branding, and a kind of cosmetic legitimacy. Cojocaru’s joke lands because it acknowledges that "credibility" on television can be absurdly tactile: the audience reads confidence through veneers, not footnotes. He’s telling you he knows the game, and he’s willing to narrate the indignity of playing it.
The intent is disarming candor. A fashion critic survives on opinion, and opinion is inseparable from persona. "Big mouth" is both job requirement and liability: you need the nerve to judge other people's presentation while knowing the camera is judging yours. The teeth tag - "they say" - adds a layer of industry ventriloquism. He’s not even fully claiming the compliment; he’s quoting the invisible chorus of producers and publicists who reduce people to broadcast-ready traits.
Context matters: this is the late-20th/early-21st-century churn where print-era gatekeepers get pulled into a TV ecosystem built on immediacy, branding, and a kind of cosmetic legitimacy. Cojocaru’s joke lands because it acknowledges that "credibility" on television can be absurdly tactile: the audience reads confidence through veneers, not footnotes. He’s telling you he knows the game, and he’s willing to narrate the indignity of playing it.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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