I wasn't very good as a puppet. A lot of times in a movie, you need a really good puppeteer: you're sort of a puppet, and you're doing what you can. But I always, from the beginning, was kind of making up my own stuff from stand-up and sort of directing myself, so I wasn't very good in movies where I didn't have control.

Monty Python never directly said, 'We're liberals' - they just did their sketches, and you had to figure it out. Generally, they were anti-establishment, of course, making fun of the people in power. I think, comedians, that's their job - pointing out what other people might not notice and going, 'Yoo-hoo, over here.'

Every celebrity in the world, if their movie bombs or whatever, they hold their kid up on a magazine and say, 'I'm really a dad.'

I had written in another draft a completely different kind of fight, but they said they couldn't afford to shoot it. They needed a fight scene, though, so I was told to put a fight scene in, but not the one I had written.

Comedy and politics have a lot in common. Both are great ways to pick up chicks - just look at Governor Spitzer. Or Ellen Degeneres. Both require spending time on the road meeting strangers who often have the desire to throw things at you. Both are difficult, if not impossible, to do all alone. And both rely heavily on personality.

When you take a character seriously, there's more room for comedy because you're not aware of how absurd you are.

Shore Leave is the one who evolved the most - because he started as a one-off joke because we were gagging on how the G.I. Joe vocationally specific-themed characters reminded us of the Village People. We made a sassy Village People kind of guy, and then we brought him back.

I think that Canadians have an incredible reverence for authority and regard for authority, and I think one of the healthy ways that it's challenged is through questioning it, through the polite hostility of comedy.