I'm open to working anywhere, but not on anything.

It's a wonderful narrative device to bring someone from the outside and look through his eyes if you want to describe the absurdity and preposterous reality that is accepted amongst the ones who are inside.

You know, I don't support esoteric approaches to acting.

I guess there are no real strict rules [in comedy], but I just learn to apply my philosophy about comedy which is, it's a serious business and the result needs to be funny, not the process.

A silly comedy needs a straight guy, and that guy needs to be as straight as possible. The moment you start playing straight you're not straight anymore, you're bent straight, so it really requires the usual serious, straight-forward analysis and research, looking into it and finding the dramatic function, all of what you do until you feel you've collected enough points to safely and securely play the part.

There is quite an important director in Germany who I think in the early fifties over here, and then went back, and he said something that's absolutely true. And it's more important to repeat that today than it ever was. Not for you, but for us over there it is important. He said, 'In America they make movies like art, and sell it like commodities. We make make movies like commodities and sell them like art.'

For me, personally, there is one really interesting thing. You're all a bit too young for that, but when you get to a certain level of experience, accumulation of experience you start slowly to once in a while get a whiff of the feeling, I'd love to be twenty years younger but with what I know and have experienced at this point.