I think improvisation is really crucial in terms of making things feel real and authentic.

With directing, your day is done. When you hit seven o'clock, it's "Cut." That's what it is. For better or worse, that's what you've got and you have to make that work, and there's something incredibly liberating about that because you can't torture yourself. You have to focus on the moment, and you have to embrace every second and opportunity and maximize that, whereas with writing, there's no imperative there. You just amble along.

And then, movie-wise, I'm writing a couple of things. They're all comedies. It's the only way I know. I'm also being sent scripts, which is really nice, kind of off the back of this, so I don't necessarily have to generate my own stuff. I'm just looking for something that's explosively funny and relatable in equal measure.

I've been on lots of film sets. I've produced films and written films and been around, so it wasn't my first rodeo in terms of that stuff. Nothing particularly surprised me, I have to say. I came in and I enjoyed the first day and I enjoyed the last day.

In terms of magnifying it and making it plausible, I'm a great believer in truth in comedy.

I like to foster an atmosphere on set of collaboration and openness and risk taking. The beauty is when you have such brilliantly talented people as I did in my cast, you definitely don't want to fetter them in any sense. You want them to be able to go out there and do their thing and feel confident in doing their thing, because ultimately I'm the person who gets the credit which is great.

I don't want to sound arrogant and say that I know everything about directing and I've got it cracked, but it was just all in all a joyous experience. To me, the key to directing, to be honest, is just surround yourself with brilliant people and let them do their thing