Who among us wouldn't rush out and buy a Pepsi if we thought it would make the Osborne's disappear?

As an editor, you're constantly dealing with the best way to convey an exchange between two people. So when I'm shooting that, I'm just aware in the back of my head what an editor might want. And also, the problems editors run into when trying to edit performances - it helps me head that off at the pass a little.

It's just one of those things like when you're not supposed to laugh, it makes it that much harder to stop laughing. And for some reason Zach [ Galifianakis] and I get in this feedback mood of giggling, and on the set of Hangover we just couldn't get through stuff.

When you're playing a fictional character reacting to the real world, it's incredibly difficult and confusing and kind of messes with your values a bit.

I have profound respect for Sacha Baron Cohen, but Borat is not a particularly comfortable movie for me to sit through.

The biggest thing that comes out of improv that gets built on is just character traits. You know, for me the singing was born out of improv.

I found myself often asking the question, "Who deserves to be made fun of?" Depending on your mood, the answer can be no one or everyone. It took me a while to understand the math of how those field pieces came together. I don't think that ridicule is ever funny, but there are times when that gets the biggest response.