John Lloyd (I)

John Lloyd: 'I despair for TV comedy'

Comedy guru John Lloyd has launched a broadside against timid, interfering and indecisive TV executives - and hinted that QI could become an online incubator for new ideas.

John Lloyd to play the Fringe

...and he talks QI, Douglas Adams and blinkered TV executies.

John Lloyd to play the Edinburgh Fringe

Top comedy producer John Lloyd is to debut a solo show at the Edinburgh Fringe. The show is partly inspired by The Meaning Of Liff, the classic, 30-year-old comedy dictionary providing words for things that should have a name but don't, which he co-wrote with Douglas Adams.

Could the prolific John Lloyd be about to come up with yet another long-running programme idea? His one-off celebration The Meaning of Liff at 30, in the company of Sanjeev Bhaskar, Terry Jones and Helen Fielding, was such good fun you felt it was a panel game waiting to happen.

The simple premise of The Meaning of Liff, the bestseller Lloyd wrote with Douglas Adams in the 1980s, was to impose silly meanings on British place names - for instance, Pontybodkin became the stance adopted by a seaside comedian that tells you the punchline is imminent, and Plymouth was to relate an amusing story to someone without realising it was they who told it to you in the first place.

For this anniversary show, Lloyd invited listeners to submit their own reinventions, some of which were every bit as witty as the originals. Helen Fielding - or "Helly", as Lloyd insisted on calling her - was especially taken with Tildonk (a village in Belgium, so not strictly within the rules of the original Liff) to define the wedge-shaped object on a supermarket conveyer belt used to separate one person's shopping from another's. How brilliant was that?

There was also Badgers Mount, describing the sexual position you knew wouldn't work despite your partner's eagerness to try it, and Norwich - any snack where the filling drops out as you take a bite.

Lloyd: Liff most enjoyable thing Adams & I did

"I begged him to call it The Hitchhiker's Guide to the Dictionary by Douglas Adams, with my credit tucked away inside... But no sane publisher ever dreamt of disagreeing with him on anything, so The Meaning of Liff it was"

John Lloyd marks the 30th anniversary of the book he co-wrote with the late Douglas Adams. It's a strange dictionary, as you'd expect from the inventor of The Hitchhiker's Guide to the Galaxy and his radio producer. In The Meaning of Liff you'll find definitions in a new dimension, as place names become definitions for experiences we recognise but don't really have a word for. It started as a game for Adams and Lloyd but Stephen Fry and Matt Lucas now tell Lloyd why they love it. Fellow devotee Professor Steven Pinker talks about the psychological relief and sense of bonding that comes from realising you're not alone in having the thoughts and feelings that Liff captures. And the studio audience throw in their own suggestions, too, to be judged, accepted or rejected by Lloyd and his distinguished judges Helen Fielding (creator of Bridget Jones), ex-Python (and Chaucer scholar) Terry Jones and actor/writer Sanjeev Bhaskar.

All performers, and especially comedians, would like to have credibility. This was the subject of Funny Business (BBC Two), a show in which I took a personal interest, because I once harboured the illusion that I could do after-dinner speeches and commercials and thereby pick up some easy money.

Until recently, straight actors lost credibility if they did commercials. Sir Laurence Olivier did a Polaroid commercial, but only on the understanding that it would never be screened in the UK. Today, however, George Clooney hustles coffee and Brad Pitt barks for Chanel No5. The money might go to charity, but it still counts as a fast buck. Nevertheless, the actors get away with it.

For the comedians it has always been a hard choice. A commercial will look like slumming unless it is funny enough to be thought of as part of the comedian's repertoire. Another question mark hangs over the corporate event appearance, where months of big bucks can be earned in a single night. But people who haven't paid to see you, and who are sitting at round tables which ensure that many of them are facing the wrong way, are a soul-destroying prospect.

Intelligent comic operatives such as Barry Cryer, John Lloyd and John Cleese were united in the opinion that the business opportunities form part of the career. But I can say from experience that it hurts when it goes wrong. I once did a big, expensive set of plugs for Australian Telecom in the very year that their opposition came out with a better product. And the money wasn't all that easy. There is a small hill of red dirt somewhere near Alice Springs that is flatter now because of the number of times I had to walk up it.

This three-part documentary series, narrated by journalist Eddie Mair, looks at the 'darker', money-making side of the comedy world.

The first episode looks at how many comics, in particular stand-ups, make money by performing at corporates. It shows performances from The Real Variety Show where comics play in front of business people keen on booking them for events.

Then it follows the world of adverts, discussing comics like Mark Arden and Stephen Frost (who did ads for Carling Black Label) to QI creator John Lloyd (who first met Alan Davies when Lloyd directed ads for Abbey National.) I know there's a history of comics doing adverts - despite the public outrage at Mark Watson a few years back - but I was suprised at the frequency of appearances. Most of the ads were produced 'before my time' as it were, so were quite shocking in a way. Stephen Fry and Hugh Laurie advertising tobacco?

It's definitely a growing trend, though; if you're feeling bored, you can play a little game where you try to spot how many times in a three-minute period you can hear the voice of Hugh Dennis.

Off all the people on Funny Business, though, the most interesting was Rhod Gilbert. Rhod explained how one corporate gig resulted in him sacking them off altogether, and how he justified doing adverts for the Welsh tourist board because he was promoting a country rather than a product. There were also interesting contributions from Mark Thomas, who attacked just about any involvement of comedians and advertising. The only advertising I can think that he has been involved in was with early episodes of The Mark Thomas Comedy Product, which were sponsored by small independent shops - like a gentlemen's hairdressers and a record shop.

Funny Business declares that the problem with advertising is that there's no funny ads. I can't help but think the problem's that there are ads to start with.

Audio: John Lloyd & John Mitchinson with Steve Wright

QI backroom guys John Lloyd and John Mitchinson chat to Steve Wright.