I think with any characterization there's a point where you empathize, no matter how much of a deviance his or her actions may be from your understanding of humanity.

I'm quite sensitive to people noticing me. There are times when I'm relaxed, then others when it does make me self-conscious.

I realised quite early on that, although I wasn't trying to make a career speciality of it, I was playing slightly asexual, sociopathic intellectuals.

My first, big, silly role at school was as Arthur Crocker-Harris in Rattigan's 'The Browning Version,' where my job was to make school-masters' wives weep with recognition.

The thing with 'No Man's Land' is not to see it, but how to make people to go to see it. The one negative criticism I've heard is that the relationship between tragedy and comedy is so perfect that it becomes suspicious. I take it as a complement.

When you're trying to enter something as intimidating as comedy, starting out with a support network of likeminded people is a powerful thing. It was natural we'd end up working together because we went through those first petrifying moments together. We created gigs for each other, slapped each other on the back, and protected each other.

Well, all comedy starts with anger. You get angry, and its never for a good reason, right? You know its not a good reason. And then you try and work it from there.

People are meant to be certain places, and I think I'm meant to be on a sound stage doing situation comedy.