If you start to disrespect the character you're playing, or play it too much for laughs, that can work for a sketch, it will sell some gags, but it's all technique. It's like watching a juggler - you can be impressed by it, but it's not going to touch you in any way.
I did not become successful in my work through embracing or engaging in celebrity culture. I never signed away my privacy in exchange for success.
But with comedy it's a simple premise. If it's funny, people laugh. If it's not, they don't.
I think it's always funny when you see kids do Shakespeare.
The great thing is that the funny side of getting old is fuel for my comedy.
If you are a great dramatic actor then you often don't know if people are enjoying your stuff at all because they are sitting there in silence. But with comedy it's a simple premise. If it's funny, people laugh. If it's not, they don't.
The trick is always to write in pairs because if at least two people find it funny, you've immediately halved the odds of it not being funny.
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.
I have never wanted to be famous, as such - fame is a by-product.
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.
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.