I actually love Scorsese comedies. He's an underrated comedy director. I think his comedies are some of the best comedies ever made.
If Shakespeare were alive today and writing comedy for the movies, he would be the head-liner for the Mack Sennett studios.
I always say to anybody who's going over to America for the first time, 'Whatever you do, go and see a popular mainstream film with a big audience.' Because people shout out. You never get that in Britain. Everybody's so quiet, scared to laugh. It's like being in church.
I don't think comedians take advantage of the fact that television and film are visual mediums.
I maintain that no movie can be funny enough. I mean even the most serious, even the most intense movie and I know enough about life to know in those dark moments inevitably someone will say something funny and I will be part of the whole experience.
In movies, you don't get reactions: Live, when you do a joke, you know in a second whether it's good or bad. But in a movie, since no one is allowed to laugh or do anything, when you're done with a scene, you're left asking, 'Was that funny?'
'Dirty Rotten Scoundrels' is a good one because it not only turned out, I think, to be a really funny movie but it was also a delight to shoot. We were in the South of France, working with Glenne Headly and Michael Caine and Frank Oz the director - who were just fun.
I think that came out of watching all those serious movies for all that time. If you watch a movie like Zero Hour, Sterling Hayden is pretty funny, and so are the guys in the cockpit.
Let's be honest - Bill Murray was onto something when he laughed at Andie MacDowell's degree in 19th century French poetry in 'Groundhog Day'.
The tone of 'Pitch Perfect' is so specific, and from the studio's perspective, they wanted someone who could step right in and seamlessly understand the movie comedically and musically.
