I don't like new bands. I don't want to be one of those pathetic old men in their forties who knows exactly what 18-year-olds are into.
There is a strong ethical dimension to the best comedy. Not only does it avoid reinforcing prejudices, it actively challenges them.
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.
I'm just attracted to playing people who are ostensible unlikable. That's not to say that there's something in there that makes you care. It might be that you just find them so awful that you just can't stop watching, like a car crash.
Actually, bizarrely, in America, I get more appreciation from the odd, unusual stuff I've done, almost because I'm not, if you like, famous in America as I am in England.
My father worked for IBM. My mother raised us kids. There were six of us, and a couple of extra foster kids at any given time.
I find impressionists slightly annoying, really.
There's something quite joyful about doing comedy which doesn't really need much analysis. I'm not elitist. I like to do crowd-pleasing stuff which is a bit smart, but is just about belly laughs.
The tabloids operate in an amoral parallel universe where the bottom line is selling newspapers.
When I was a student I was very, very ambitious, completely immersed in my comedy career. I never had that period of reckless hedonism that you should get out of your system in your youth.
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.
I don't think there's anything outside what comedy can address.
I am of the very last generation who didn't have computers at school. As we grow old we'll become something of an aberration.