Jonathan Meades Quotes
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At any point in the world's history most architecture is going to be bad but I think there's been a collective mentality since the late Conservative years - the end of Thatcher/start of Major and certainly continued throughout New Labour and continuing now - that new is necessarily better, so there is this neophilia which isn't the vanguard of progress, it's just the vanguard of the construction industry enjoying itself.
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While I'm sure people in Britain have money worries, they don't have them like the French do. The French, however much money they have, are worried. They're a very stressed people. It seems to be a very essential component of the national psyche.
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I think the French agonise more about being French, I don't think English think about being English that much. I think the Scottish think about being Scottish and the Welsh think about being Welsh, but the English don't really care. But the French think about it all the time, it's an absolute preoccupation.
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I like irrational things. I like scenarios where I can think, 'It would be great if at this point we could do x.' And there doesn't have to be a reason for 'x'.
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I don't like the theatre. I like plays in which the audience is addressed by the actors. I don't like seeing people talking to each other on stage as if there isn't an audience.
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I didn't know what I wanted to do when I was a child. I did want to be a cartographer but that was partly because I liked Ordnance Survey maps and when I used to go to my grandparents' house from Southampton Station one went past the headquarters of the Ordnance Survey.
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I genuinely find it difficult to think of places that I'd never want to see again. It might be because part of my career has been concerned with writing about topography.
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As a driver I have come to believe that the person just in front of me and the person just behind me are always just about to do something really stupid. Tense is not the right word, but I am very hyper-aware of such things.
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I don't know about virtual world, I think it's more a kind of parallel world. I think the advantages and disadvantages of technology are hugely exaggerated. It doesn't make that much difference. Sure if you've got a mobile phone, you use that over your landline. But I think that life goes on and we absorb stuff.
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Going on things like rollercoasters is not really up my street I guess. I don't feel like I need to do stunts. I'm too scared and I don't think it's my job.
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I'm not against architecture per se, I'm just against bad architecture.
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If you have slightly pathological interest in all the components of places, it forces you to engage with them in a way that perhaps otherwise you wouldn't, and that's the only way I can put it.
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I do make myself be interested in places in a way that I don't make myself be interested in people.
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The only bright feature of cultural relativism's triumph is that it has become establishment orthodoxy and will thus one day be derided, resisted and overthrown.
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I'm a very, very unreckless person. I mean, I look left, I look right, I look left, I look right, then I repeat the process and then I decide not to cross the road at the last minute.
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As primitive as digital can be, there is nothing automatic in the methods I use, it's all basically done by hand. I know nothing about computers. I don't like computers. I use them for writing because I have to. I have never had a conversation about computers in my life.
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Conversion requires a subtler mind. Architects don't like it, architects want to create their own landmark buildings so that people a few years hence will say, 'Oh, that building there is being knocked down, who did that one?'
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For the most part, French cities are much better preserved and looked after than British cities, because the bourgeoisie, the people who run the cities, have always lived centrally, which has only recently begun to happen in big cities in England. Traditionally in England, people who had any money would live out in the suburbs. Now, increasingly, people with money live in the cities, but this has changed only in the last 20 or so years.
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I like looking at the countryside as well as anyone... a little countryside goes a long way, but it's almost like the DNA of a civilisation is in its cities.
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I don't see any point in having a public service broadcaster which attempts to compete with the commercial sector. Obviously part of its remit is to entertain, but entertainment doesn't necessarily mean scraping the bottom of the barrel and appealing to the very lowest common denominator.
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I like extremely effeminate dogs like terriers or schnauzers. I make an exception for giant schnauzers and big poodles. Basically, I like dogs which can be dyed day-glo colours.
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I wasn't a keen taker of speed because I didn't like the comedown from it.
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Vertigo doesn't apply in planes for some reason. You think it's some kind of magic and you don't know how it's keeping you up, but when you're on a cliff top it's a different matter.
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One doesn't mind adverse criticism so long as it isn't stupid.
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If you believe in the existence of fairies at the bottom of the garden you are deemed fit for the bin. If you believe in parthenogenesis, ascension, transubstantiation and all the rest of it you are deemed fit to govern the country.
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When I started writing fiction it always seemed in retrospect (I didn't realise at the time) that it was always caused by environments rather than by incidents and characters.
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I think in space or music or art or literature of any kind there has to be some kind of void where the viewer or the spectator or the listener or the reader can insert themselves into it, and there is a certain kind of architectural space which is totalitarian, which does not allow you to do that.
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I think that cheap music often does make you dream more than more serious music, whether that's serious music by Beethoven or Miles Davis or Pink Floyd... if the Floyd ever did serious music, which I seriously doubt.
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Brummies run themselves down, they're very self-deprecating. Whereas Yorkshire people certainly aren't.
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There is a tradition of television which isn't dross and stands up. Betjeman's programmes, which were made for 2/6d with one man and a cine camera, were amazing to watch because he was such a great talker.
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