My style of comedy is very real and bittersweet, and sort of always on the verge of kind of being tragic.

What you never want to do is have a story that doesn't track emotionally, because then you're going joke to joke and you're going to fatigue the audience. The only thing that's going to string them to the next joke is how successful the previous joke is.

I'm extremely, extremely lucky to be who I am and do what I do and work with the people I work with. Even though I can always find something to complain about, I find it very hard to complain.

Little Britain… ever since it first came on… I come here a lot, we have a lot of friends here, my wife used to work with a lot of Brits, so we were always keyed into the hot shows when they first came out. So, I fell in love with Little Britain.

What you want is the thing that critics love and audiences love, but that's the hardest thing to do.

Period costume films are fun to discover, but they're not relatable. It's more, 'Wow, that's cool - did it really look like that back then?' Whereas with a comedy, you're like, 'Yeah, that's me, that's my friends.' No matter what, I want people to relate.

That's what I love about the mockumentary style, is the added thing of people knowing they are on-camera, which changes your behavior. That's why we sometimes do what we call spy shots.