Humorists are using Twitter to tell jokes in an interesting way. It doesn't have to be profound, and it doesn't have to be earth-shaking, but it is transformative.
I think comedy has evolved like every art form, and people probably do less standing around and telling jokes, and more things that have to do with reality.
I enjoy doing standup, but when I'm 50, I don't know if I'll still enjoy doing standup. It might be one of those things where I find other palettes that I want to paint on and make comedic.
I've definitely become smuttier. When I first started out, I had these aspirations: 'I'm not going to do jokes about anything crude because I'm bigger and better than that.' But then, I don't know... It makes me laugh, so I started doing it.
Neck-down comedy was no longer valid after the 1980s alternative comedy revolution. Everything became about the cerebral. And with that came positive things - it helped get rid of some of the sexism and homophobia - but it also meant a lot of physical comedy was lost.
[Maigret] is terribly self-contained, not that I would ever wish him to be any more comic, particularly, but in the second film we've made you see he's a little more ironic from time to time. But as I say, that's just work in progress.
That's the nature of comedy. You always want to be improving and growing and changing with what's happening in the world. That's when comedy is most effective.
My movies before tend to be just funny. But it wasn't a conscious thing I was looking for at all.
I grew up on Abdul Halim Hafez and Esmail Yassine, a great comedic actor. I think Adel Imam also changed and revolutionised the game and comedy in Egypt.
Obviously comedic styles do change.
