I've met people who've dismissed me, and then they find out that they like my work, and suddenly their attitude changes toward me. And I think that's very funny and very human. But it's also very unattractive.

I like the British public. There is something in this country called tall poppy syndrome. You're good but you're not that good, pal, OK? The natural state of our nation is slightly miserable, and probably the healthier for it. In America you don't get a key down the side of your Bentley.

I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.

London audiences are tricky, too. They don't laugh as much as the Northern audiences because, and I hate to say this, they are a bit cleverer normally, and they are picking up on all the little details and listening more carefully.

In England, I've done a whole bunch of stuff where I just make a complete ass of myself. I've been doing it for 20 years, so I just gravitate toward it anyway. I'd rather do that than do the stuff where I'm supposed to be trying to look cool in some way. It's more interesting to me.

Most of all I don't want to be bored. That's why I'd rather do something that has some sort of ambition, that risks failing, rather than make safer, more comfortable choices.

The one thing that gives you faith is the fact that people can be apart physically but they can still have an emotional connection.