Whenever I work on something, I try and throw everything I have at it. Then if the director finds it useful they use it, and if not, they ignore it!

A lot of times, good improv is when both people, or however many people are in the scene, really have no idea what the next thing you're going to say is.

I love card games, and I've always loved board games and stuff like that as a kid, and I think it's that part of your brain that's engaged in con movies. It's like this 'Who's outsmarting whom?'

Being unprepared makes me nervous. I'm old-fashioned show folk.

I'm alienated from this world because its weird and I don't want to be a part of it. I want to be part of the people that are more imaginative and crazy.

I end up improvising in almost everything to some degree, 'cause it's often necessary on movies. The script is one thing, and it's this kind of theory of what you're going to do, and then you get there on the day and you realize, "Oh, the script is not appropriate to this room, the door's over here."

Kind of the exhausting thing about doing pure comedy, or something that's broader, is you're kind of a slave to the laugh. If it's not funny, then there's not much point in doing it. The kind of über-objective is to make people laugh. You always have to have that in the back of your mind, "Eh, I've got to figure out a way to make this funny."