For years, I didn't give interviews because I was scared of people judging me or thinking I was arrogant.
There are some things that as an actor scare you, and if you can capture that fear on screen, it will be interesting.
I have to be careful, as I don't want to offend Midlanders, but growing up, it wasn't like growing up in London. Anything you were interested in, you'd be able to find someone also interested in it. In the Midlands, nobody came out as gay at my school at all.
Confidence in a bloke would be arrogance in a woman. For years, I didn't give interviews because I was scared of people judging me or thinking I was arrogant.
I studied classics, and I find it mystifying that we had Medea and Electra and Antigone and all these amazing characters, and they don't really exist in cinema now. The only person who's really doing it, and he gets loads of criticism for it, is Lars Von Trier.
We pitched 'Sightseers' as a TV idea originally, and it was rejected because it was too dark. But then things like 'Dexter' came out, 'Breaking Bad'... There are so many sophisticated dramas now with comic elements to them.
If you're funny as a woman, people think it might be because someone else helped you.
I think comedy, so much of it comes out of the strange sort of golden instant 'cause you don't know why it's funny, but you captured it.
I think it's much more natural as a writer to want to tell one story rather than lots of small stories that are half an hour long.
Women often have a fraught relationship with their mothers, even though that's the most important relationship in their lives.
I probably revisit in my work the moment at which I realised that dreams couldn't be reality.
I think when a couple stays together, it's because of compromises they've both made.
I don't have kids, a mortgage, or a car. That has let me hold out for the jobs I want to do, and to sit in a cold room in the winter with fingerless gloves, writing.
The first time you go on holiday is the test of a relationship, when you really find out if you're compatible or not. You find out what's annoying about that person, and whether or not you're willing to put up with that because you love them and you don't want to be alone.
I think 'Sightseers' was a bit of an epiphany, a massive learning curve, and it gave me loads of confidence to go out there, and also to create a female character which is completely unexpected and defies convention.
I don't understand why people don't use improvisation, especially in comedy films, but also, for me, you get more naturalism, and that's why I like the naturalistic performances and strange rhythms and the way that people genuinely interact captured rather than sort of very mannered performances.
The characters are not allowed to change if you write a sitcom; they're not allowed to learn anything. There's all these sorts of rules, and you go, 'I just want to be able to write one character and then leave that behind.' Also, as a performer, and I may regret saying this, but it would be my own personal hell to be trapped in the sitcom.
I was in something called 'Garth Marenghi's Darkplace' which was a real cult comedy; it's sort of a spoof horror sort of thing, and it only ever had one series, but I liked the fact that it only had one series because it's kind of got this little gemlike quality to it that there were only ever six episodes.
The irony is that we're really good at comedy in Britain, but for some reason, we make very few comedy films. And when we do, they're either quite American in style, or very Richard Curtis. And I like Richard Curtis, but I think only Richard Curtis should write Richard Curtis films, and other people should try and find their own style.
One thing about television in Britain is that they're so scared about complaints. It curbs a lot of drama.
