The most important thing about my life is this integrity, and you can't lie to yourself.
The truth of it is that people are not going to want to go to improvisational theater if it's not funny. You can succeed in doing all the things you're supposed to do - be truthful to scene - and if it's not funny, I'm telling you that no one's gonna care.
What I'm doing in the work I do, I prefer not to just have a series of jokes. It's nice when audiences can connect with the characters as well.
I started working in New York City as an actor and did many plays. I did regional theater, smaller theaters, children's theater.
As an actor, I trust my ear.
To me, what I realized when we were doing 'Spinal Tap' - and the four of us wrote that - is, really, the core of that is the relationship with the two guys who grew up together and that strain when the girlfriend comes in. If that wasn't there, it's a very different movie. Then it's just bumbling guys stumbling along.
I watch mostly documentaries and things that aren't remotely funny.
The early parodies that talk-show people did of rock n' roll in the '50s were terrible. They didn't know it, they didn't like it - and that's a lethal combination.
What's interesting about Laurel and Hardy is that in most comedy teams, there's a straight man, and then there's the funny guy. And with Laurel and Hardy, they're both the funny guy.
I love being with my family and just being a regular person.
All these movies are observational comedies. I see somebody, maybe a dry cleaner, and notice how they are. Maybe I'll decide to turn a person with those traits into a studio chief.
I don't read about myself, and I don't read any magazine that has anything to do with movies or show business.
The main thing that's important to me is getting to do whatever project it is the way that I do what I do, and that's different. To go to an entity - whether it's a traditional film studio or some newer company, or HBO, Amazon or Netflix - they would have to know that I need to work the way I work.