I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.

You know it's important to have a Jeep in Los Angeles. That front wheel drive is crucial when it starts to snow on Rodeo Drive.

The movies have a way of seeping out there over time. We don't put them in 2,000 theaters. It wouldn't work that way.

Folk musicians have a lot of the same self-importance, but they're way more cruel and jealous than rock musicians - I know this for a fact because I used to be a folk musician.

We all know many people who have been through this reality, and how it changes them. This happens to be an area I know something about. It's a virus.

I am interested in the notion that people can become so obsessed by their world that they lose sense and awareness of how they appear to other people. They're so earnest about it. But that's true of so many things.

I spent a lot of time in London when I was growing up and I've always picked up accents without even really meaning to. It used to get me into trouble as a child.