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 can't always do the extraordinary, in between you have to do the ordinary. Because if you didn't, what would constitute the extraordinary?

You know, I don't talk about the characters that I play. Years ago, I was a little timid about it and I kind of squirmed when I was asked, 'Could you tell us something about your character.' Now with a little self-confidence that comes with the grey beard, I just flatly refuse.

What it really is and what I now have experienced is that, people who take enormous pride in what they're doing - not in their person - that their work ethos is as high as nowhere else.That they love their jobs, they love to do their jobs properly as best they can. And coupled with the financial umph, you know, you get decent results.

One does not contradict the other.Straight-faced is the basis of all decent comedy.

You need the villain. If you don't have a villain, the good guy can stay home.

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.