I've stopped going to see art films because every critic gives them four stars and say things like 'masterpiece,' 'spellbinding' and 'mesmerizing.' I mean, they're doing that with my film, but I don't want to use those blurbs. Critical reviews aren't worth too much anymore because just about every film can get one or two of them.

Maybe if I found something I was really passionate about, which is entirely possible, I would make another documentary, but it's not a good career choice for anybody. I don't recommend it.

Chicago always hit me as such a gloomy place - I just remember all the snow getting dirty as soon as it would fall, all the decaying brown brick buildings around where we lived, all this soot all over the place.

My hat's off to documentary filmmakers. I don't know if I'm ever going back to it. You're treated like a second-class citizen at most film festivals. You take the bus while everybody else is flown first-class. If you're a feature film director, you're put in a five-star hotel, and if you're a documentary director, you stay in a Motel 6.

I don't do it often, but I do cry. I also laugh a lot; people tell me I'm funny and I do like to laugh.

The only thing I miss from the sitcom format is that immediate gratification of when you're, if we're talking about comedy, of the live audience.

I couldn't really take a girl from Berlin to live in Leeds. I love it here. I miss the Yorkshire sense of humor and things like bitter and Yorkshire puddings, but I can still get my hands on salt 'n' vinegar crisps.

The best comedy to me - and again, I grew up with comedy since I was a baby, so I've seen it all - is when you exaggerate the truth, like Richard Pryor did, you understand?