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.

I painted sets before I ever performed.

In real life, people fumble their words. They repeat themselves and stare blankly off into space and don't listen properly to what other people are saying. I find that kind of speech fascinating but screenwriters never write dialogue like that because it doesn't look good on the page.

I spent more time in America, but I developed a very English sense of humour. I clicked into it deeply with Peter Sellers, who is still probably my favourite comedian.

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.

You can't really dust for vomit.

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.