My experience growing up in London and growing up in a working class background, is that when people are down and out, that's when they're probably the funniest. They have to be. That's what they do to cope, to find joy, cause they don't feel the joy inside. Or they use humor to keep people out.

A lot of black men have problems being emotionally vulnerable because of the boundaries and parameters that have been put onto them by society.

A lot of people have an opinion on scripts, but they aren't equipped to diagnose what the problems are. You realize that scriptwriting is such a specialist subject, but because it's so common, everyone thinks that they can talk about that. I think it's something that writers only know, that they can see.

Improv is like writing. It's actually a different discipline to acting. It helps acting greatly, but it's completely different. It's the same side of your brain when you write as when you improv.

I don't think writing stops until the film is out. In the edit, it's another draft. [The script] is the food for set, and then the set is food for the edit, and the edit is food for the screen. It's constant, and this is just the first stage of it.

My experience growing up in London and growing up in a working class background, is that when people are down and out, that's when they're probably the funniest. They have to be. That's what they do to cope, to find joy, cause they don't feel the joy inside. Or they use humor to keep people out.