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Overview (1)

Born in Wortley, South Yorkshire, England, UK

Mini Bio (1)

David Quantick is a writer, broadcaster and critic specialising in comedy and music. He has written on, or appeared in, an extremely large amount of influential television and radio shows, from The Day Today and The Fast Show, to the banned animation PopeTown and the equally controversial Brass Eye.

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.

Quantick built his profile steadily and his name began to appear more and more often in print, radio and television. In 1992 Armando Ianucci 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). Both shows were highly acclaimed within the industry, winning awards and marshalling a loyal fan base.

At this stage Quantick was still submitting copy to the NME, only giving up in 1995 after an unusually long association with the paper. Around this time he was appearing regularly on Collins and Maconie's Hit Parade (BBC Radio 1 1994 to1997), waxing critical about music's stars. This developed into his own named slot in the format: Quantick's World. His relationship with Maconie continued in parallel on the weekly show, The Treament on BBC Radio 5 - an hour long satirical news round-up.

In 1995 Carlton Television broadcast a set of 6 pilot television shows, one of which was Now What?. The series was not picked up for development but Quantick found a writing partner through these proceedings in Jane Bussman. The two went on to write and perform Bussman & Quantick Kingsize (1998), a series of sketches and monologues.

Quantick rejoined the Chris Morris/Armando Ianucci axis to write for Brass Eye 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 programme (without having seen it).

Throughout this period he contributed to less provocative fare such as Smack The Pony (1999-2001), Harry Enfield's Brand Spanking New Show and could be heard on BBC Radio 4's 99p Challenge.

But most importantly Quantick and Bussman were making history. In 2000 they created the world's first Internet sitcom Junkies about three heroin addicts. Quantick also claimed it as the first docusitcom (documentary/sitcom), though some argue a competing claim is made by The Osbournes. It starred long time Morris collaborator Peter Baynham, with Sally Phillips (Smack The Pony) and Peter Serafinowcz (Look Around You). It is still available for download. The project grew out of the writing pair's frustration with the commissioning process. The average sitcom, they said, cost 200,000 pounds to make and finding funds is too difficult. So they secured the services of cast and crew on a voluntary basis and made a show for less than 4,000 pounds. The site received over a million visits in the first eight months.

In 2001 Quantick collaborated with Collins and Maconie again on Lloyd Cole Knew My Father, a live show where the three recounted humorous tales of working as rock journalists. Part of the conceit was that, far from being a tale of sex and drugs and rock 'n' roll, stories centred on the deflating aspects of the job: the boredom, missing assignments, the idiosyncracies of fan letters. Quantick missed one performance at Edinburgh's Pleasance Theatre when he went for a walk up a large hill - Arthur's Seat - and had to be rescued by firemen.

A performance was later broadcast on BBC Radio 2 as a six episode serial. Around this time there was an explosion of nostalgic list shows on British television themed around decades past: I love The 1980s and I Love The 1990s etc. Quantick was in his element (as was Maconie) scraping the pith from cultural icons and ephemera.

Quantick enjoyed immense success with the publication of 2004's Grumpy Old Men, which spent three months in the Sunday Times best seller list, and a sequel is imminent.

He continues to write.

- IMDb Mini Biography By: Graeme Payne

Spouse (1)

Karen Krizanovich (? - ?) ( divorced)

Personal Quotes (5)

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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