I want to talk to the audience. This is what I've been doing in my work in French forever - talking about small things becoming big problems. I notice all the details, all the tiny little things.
I discovered that it's not really about the language. It's about how the words are pronounced and the delivery. We have plenty of good English-speaking comedians. It's O.K. if I have my accent, my gestures, my way of speaking.
I don't feel any need to play the role of the clown. In my private life I take a break from humor.
Morocco is completely alive for me because I spent about a third of my life there. The first few times I went back to Casablanca, I walked through the streets and remembered how years earlier I had walked those same streets and prayed that a miracle would happen and I would leave and become famous.
It's a time where every country and every human should be united. I mean, every country has its problems.
When you succeed, at a certain point, you want to challenge yourself. Otherwise, you become boring. You become a has-been. It's not very interesting. I don't want to be this guy who has only succeeded in France. I could say, 'O.K., that's it; merci.' But I'm not interested in that.
I like to do comedy. It's my real passion. I want to make people laugh.
Comedy in America is very serious. Either they laugh, or they don't.
There were two things I used to do to seduce girls: jokes and music. Since I'm not a great pianist, jokes were my thing.
Journalists ask me, 'Why don't you ever talk about sex in your performances?' True, I don't talk about sex - not in my personal life and not in my professional life. This is modesty.