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What's great about having an audience is they can let you know what they don't think is funny, and you can just cut that out and keep trying.

I give a facial expression in a moment of silence for audiences to react to what I just said and kind of let that marinate with the audience for a little bit. I enjoy the physical part of the comedy as much as the verbal content. People tend to gravitate to not only what they're hearing but also what they're seeing.

I guess my idea of a good audience is one that's quiet and listens, but also that's alive: they respond, they're getting the jokes, they're with me. And that' s been happening.

If you work on a comedy show, your basic form of communication is teasing. That's generally how we speak to each other: you communicate the information between the lines of insulting sentences.

That's one of the great things about comedy: we can - and should - say the things that other people aren't supposed to say. If we didn't do that, if we didn't push against those limits, we'd just be standing around onstage and yelling.

Once you become a comedian, you accept that people are just going to yell stuff at you.

I love working with an audience. I love working with actual people who, you know, if they're moved, you see it. If you say something they're stunned by, you see their jaws drop. If they're amused, they laugh - that kind of reinforcement, I totally adore.

If I say a joke and the audience laughs it makes me feel good.

I've always been fascinated by the difference between the jokes you can tell your friends but you can't tell to an audience. There's a fine line you have to tread because you don't know who is out there in the auditorium. A lot of people are too easily offended.

I have a rule - 'funny is funny!' When I write comedy, it's not my aim to upset people. I will be offensive, edgy and immature, but I will also be very intelligent and relevant. At my shows, there are no holy cows.