It's really cool when the thing you are working on as a small team gets embraced by millions, but in the end, it's about your character and the script and your director and the rest of the cast and crew.
I would love, love, love, love a one-on-one match with Tanahashi, and I've never had one before. He's my all-time favorite New Japan guy. I think the guy's a rockstar. He's so cool, just in the ring and in person.
Period costume films are fun to discover, but they're not relatable. It's more, 'Wow, that's cool - did it really look like that back then?' Whereas with a comedy, you're like, 'Yeah, that's me, that's my friends.' No matter what, I want people to relate.
I think it would be cool if you were writing a ransom note on your computer, if the paper clip popped up and said, 'Looks like you're writing a ransom note. Need help? You should use more forceful language, you'll get more money.'
In the 1970s, we had Carl Sagan, and he was so suave with his turtleneck and his tweed jacket. And he was, you know, he made science look cool. And in punk rock, we haven't had that. We haven't had the Carl Sagan of punk.
I think 'Cool Hand Luke' was probably the first movie in which I was aware of the writing as its own separate thing. It was that speech when the guy reads Paul Newman the riot act. The speech about going in the box.
We live in a world that tells us not to care, to consume everything in sight. It tells us that being cool and being an individual actually means buying what everyone else is buying and doing what everyone else is doing.
It strikes me as pretty interesting and cool how girls support each other in this business. I've never felt so much support in my life than from my fellow female comedians. I attribute much of my success to some of them.