I would do Winnie the Pooh. We would live in the tree house. We would hunt for honey.

I don't have to do much. What I was surprised at and the challenge was that dealing with an ensemble cast who are in scenes together everyday all day, that is a challenge. It's a challenge to make sure everyone get as much coverage and attention, it got just kind of competitive. I loved it because it made it funnier, but the improv went nuts. People were like, "Oh wait. I have something better to say." "Now, I'm going to say..."

It was shocking to see a leg! You've never seen a leg in these stories. We made it a little saloon girl. We played up on many elements because everything is just very covered and the tights are very thick and heavy. And then to have it all fell apart, absolutely, we wanted to see the leg!

And our experience in England was that. It was a delight. I had never even been to England and I got to spend five months there in a beautiful estate and just party with these gorgeous men and women and poke fun at their beloved genre, which they all loved. We teased it, but it's so gentle, that you're still swept away the whole time.

I would do Winnie the Pooh. We would live in the tree house. We would hunt for honey.

I never think of myself as different from anyone else.

The costume designer, her name is Anne Hardinge. She's done "Shaun of the Dead" and "Hot Fuzz." She's really comedic costume designer, which was right up my alley. She was a joy to work with. She was like fabulous Geena Davis. She was just floating with her red lip and kind of fabulous.