A lot of the fiction I read growing up was post-war American, and not all of it centers on Manhattan, but around people of the Mad Men generation, people like John Cheever and, in more modern times, Don DeLillo, who I always mention.

I did throw a lot of eggs into one basket, as you do in your teenage years - 'I am buying these records, I am wearing this'. I did quite a bit of that. You have to do it, wear your stupid shoes, wear your stupid hair.

You try various things when you're growing up. I was an attache in the Foreign Service for a while and then I drove a bulldozer, but neither of those panned out for me so it had to be stand-up.

One thing that's coming up a lot is: are you as grumpy as you appear from this Black Books thing.

Being onstage is like being rock star. Whereas if you're doing a movie, it's such a confined space. You know, you do a comedy, it's so hard, too, 'cause with a comedy, there's no vocal reaction, there's no energy that you get back that spurs you on to be funnier because everyone has to be quiet.

It doesn't mean you can't discuss important things, but I would never do a joke about cancer, just because I don't think any joke is funny enough to justify upsetting someone who is going through that.

As soon as I go into a dark subject, like discussing the people I've loved and lost, I off-road into absurdist comedy perversion. It's both a means of protection and a kind of denial, a blessing and a curse. Wait, it's not a blessing at all. I guess it would be a bad habit and a curse.

To do comedy, you have to be a pretty good actor to start with.