You mustn't take what I say as gospel because no one can second-guess the future.
You have to like the present if not your life becomes secondhand if you think it was better before. Or that it will be better in the future.
People are funny and in the most tragic situations when comedy erupts from nowhere it can turn on its head within the space of a second or a minute. You're laughing one minute and you're crying the next and that's just life for me and that is what people are like.
And regardless of the fact that in this country certainly in the arts we treat comedy as a second-class citizen I've never thought of it that way. I've always thought it to be important. The last time I looked the Greeks were holding up two masks. I've always thought of it not only as having equal value but as the craft of it being funny.
What's so great about working with really funny women is that vanity comes second. Whatever makes it real and funny they're going to go for and it's just great.
I'm on so late I'm definitely the last seconds of anyone's attention. So I just want to give them something dumb to laugh at so they go 'That's funny ' then fall asleep.
I always find it kind of embarrassing kind of funny and kind of exciting. In New York I'm recognized a lot although nobody says anything. You know they stare at you just a second too long. But in Paris it's not as commonplace to be recognized.
It's a funny show. The characters are surprisingly likable given how ugly they are. We've got this huge cast of characters that we can move around. And over the last few seasons we've explored some of the secondary characters' personal lives a bit more.
I always like to watch comics and it's interesting that you can tell if someone's funny in 10 seconds.
I had the classic 40 meltdown. I did. It's embarrassing. It was pretty funny. But then I recovered. To me it was like a second adolescence. Hormonally my body was changing my mind was changing and so my relationship to myself and the world around me came to this assault of finiteness.