I'd like to go back to standup. I don't like to think I've done my last gig. At the moment it terrifies me, I get really nervous. It's a great buzz when it goes well.

It's not a very secure industry. I've spoken to a couple of people recently who had a successful TV show and then found themselves absolutely skint and struggling to find a job.

Recently I've been collecting Star Wars figures again. When I was a kid I couldn't afford them. Now I can so I've been buying them and keeping them in their box for a later date when they'll be worth a lot of money.

My son thinks I'm hilarious, but he's only 1.

I like the outdoors and the natural world. Environmental issues.

All the parts I get offered are character and comedy parts, and I probably wouldn't get them if I had a different face. So I'm glad I have a comedy face.

I still draw a lot though. Ballpoint pen is my preferred medium.

I like the fact you can spend two hours setting up a scene that will only last a couple of seconds. And I like just sitting around and dozing between scenes!

I'd like to go back to standup. I don't like to think I've done my last gig. At the moment it terrifies me, I get really nervous. It's a great buzz when it goes well.

I haven't got a car or a house. I've got a wife, but I didn't pay for her! I spend all my money on my glorious wife. She's here with a knife at my throat!

I spend days with writers' block. It is a problem.

I don't have much choice these days in how I have my hair.

You get built up and put on a pedestal and then people want to bring you down. It can be hurtful. Some people try to make me look bad or not a nice person but it's completely false.

When I did '21 Jump Street,' I felt like I was a part of something great, but on a very large scale. Working with people that genuinely want to make good art or good work or a good film, that's what keeps me going.

In Sydney, I gave what was billed as a masterclass to bright students of writing at the University of Sydney. But the term 'masterclass' was possibly over-egging the pudding. All I could do was pass on some lessons from my own life, and the most obvious is that if you want to be a writer, you must first have been a reader.

The true competitors, though, are the ones who always play to win.

If I pick up a book with vampires on the cover, I want there to be vampires. If I pick up a book with spaceships on the cover, I want spaceships. If I see one with dragons, I want there to be dragons inside the book. Proper labeling. Ethical labeling.

If I don't have a model in front of me, I don't have an idea.

I feel good doing it. It's not like guys are stripping me at half-court or I'm just losing the ball dribbling. I think I'm handling the ball pretty well, just trying to make good passes, man.

While I've written in the POV (point of view) of adolescent characters before... I never have had to create novels in which those characters not only drive the plot, but also are instrumental in resolving whatever issue the plot deals with.

My first job was working in a dress shop in Los Angeles in 1940, for $7 a week.

Divas dont do drama we do business.

I feel like that's so ingrained in so many children that you are so confined and repressed growing up that, anything you do, you have to rebel against it at some point.

We cannot aim at anything less than the Union of Europe as a whole and we look forward with confidence to the day when that Union will be achieved.

There was a feeling during the years of George W. Bush's presidency that his gracelessness as well as his appetite for war were linked to his impatience with complexity. He acted 'from the gut,' and was economical with the truth until it disappeared.

It's difficult because Manhattan is so fantastic, and it's 9 miles away, and all these cool rich people live there and have great lives, and you live in a semi-attached row house in Queens.

We believed that there's no such thing as good art or bad art. Art is art. If it's bad, it's something else. It was a much, much harder line in the '50s and '60s than it is now, because the idea of art education didn't exist - they didn't have a fine arts program when I was a kid.

I think the answer to civil disorder in America, the answer to police problems in America, the answer to jail overcrowding and all the problems that we see is - the one answer is that government must go back to its people.

God tests His people through hardship.

I remember a period where my publisher said to me, 'Look, your historical work is selling much better than your contemporary work, so please give us more historicals.'

Television is an instrument which can paralyze this country.

I perfectly understood President Obama's attitude throughout the French presidential campaign. He had no reason to distance himself from Nicolas Sarkozy. It's the basic solidarity that leaders who worked together owe to each other.

When I get some budding young comic who'll come up to me and say, 'What was it like to do it in those days?' I try to be as gracious to him as Stan Laurel was to me.

In designing the scenery and costumes for any of Shakespeare's plays, the first thing the artist has to settle is the best date for the drama. This should be determined by the general spirit of the play more than by any actual historical references which may occur in it.

We do not quit playing because we grow old, we grow old because we quit playing.

If you can figure out where you fit into any particular story, you'll be okay. When you're not quite sure where you fit in, you try to be too many parts of the story. You gild the lily. I see it all the time.