I recently had a chance to talk to Steve Coogan about Hamlet 2, Tropic Thunder, growing up with four brothers, and fish 'n chips. Here's what transpired.

Laremy Legel: Tell me about playing Sexy Jesus. That's a once-in-a-lifetime role, right?

Steve Coogan: It was unusual. I wasn't thinking to myself, "Oh no, I'm having to play Sexy Jesus again," so that was novel. Not routine. It was kind of fun. I wore these cool, tight jeans and these nice boots. I had my wifebeater on. So I thought I looked pretty cool. I enjoyed it. I never thought I'd have the opportunity, so I can check that box off.

LL: Do you worry about backlash?

SC: Not really. No. If comedy is going to be interesting you always run the risk. In fact, you should offend people sometimes. Now, if you're doing something for the sake of offending people, that's dumb. It's the attitude that you have to see if it's right or not. Why would people be offended? Because Sexy [Jesus] is offensive? Well, why is Sexy offensive? Because he should only be seen in robes in a completely asexual way? Once you start picking at it apart it starts falling apart.

The kind of people who would be offended by it are the sort of people who like to think their parents never had sex. Now, I don't like to think about it, but I have to acknowledge it.

LL: Is this a feel-good film?

SC: It is, in spite of itself. It manages to be a feel-good movie without having the requisite cheese that goes along with that. Normally, if a movie is smart and funny it's also cynical. This manages to have spiky kind of risqué comedy while being life affirming.

LL: I think your character floats along on a river of awkward. Was it hard to play a guy who doesn't react?

SC: He's emotionally stunted. One of those people who lives vicariously through his love of art but can't function properly as a human being. An uber-nerd of drama. So the normal social skills he lacks. He's just a bit odd. That doesn't make him unreal.

For me the thing was striking the balance between playing a guy who is slightly eccentric and making sure the performance isn't out of kilter with the other people in the movie. He himself is out of kilter in his life, so it's trying to make sure it comes across like that and not "Hey, get a load of me being a funny guy." If you've ever worked in the theater you know those guys are out there.

LL: It seems like these sorts of characters didn't really exist in the '80s. Nowadays most comedies seem to have at least one character that's really off, but in a complicated manner. Napoleon Dynamite is the obvious one there.

SC: That's true. It was usually the supporting character. The fear with this film, I imagine, is who the hell is going to identify with this odd guy? My own feeling is you don't need to identify with him per se, so long as you identify with a man who is struggling to do the right thing, beneath all the gags. He believes in something, which is kind of odd. There's something refreshing there.

LL: It seems like you really enjoyed the singing. Have you done much singing?

SC: In London I've done lots in my live shows. I did a character that was a singer, and an album. To me it's just, "Is it funny? Does it help the movie?" I learned some moves. I'll do whatever it takes to make the movie funny. Whether it's show my ass or dress like an idiot, I don't give a damn. As long as it adds value.

LL: I read that you grew up with four brothers. How has that affected your comedy?

SC: In a big family it's not really touchy-feely. It's more about hurling insults. That's as close as you get to affection. Trading insults, but with wit. You have to twist the words with something funny on top. If it's funny and insulting it's like a double-edged sword. Comedy is a very powerful weapon.

LL: This is sort of the summer of you given how buzzy Tropic Thunder currently is. Can you talk about the difference in the characters? They both seem a little off.

SC: I either gravitate towards those parts or people see that I've done that before. I'd be very self-conscious if I had to play someone who was naturally cool. I might try it for a challenge but the idea of being genuinely cool, I don't know that I'm ever going to be capable of doing it.

In Tropic Thunder it's just a supporting cameo role. I play the very confident British director -- one of those guys that can talk the talk but not walk the walk. He manages to get through life by virtue of his confidence. But when he has to step up to the plate it all falls apart. Where in Hamlet 2 he can pull it out of a hat. The British guy is protective and emotionally closed. But the Hamlet 2 guy is emotionally open to a fault so he feels kind of like a child.

LL: What role do you feel rejection has in comedy? It seems like in Hamlet 2 the guy goes through a lot to create something.

SC: Rejection can be a great motivator. People take it both ways. Proving a point is a lot of what most comics and comedy is based on. Within the Hamlet 2 material rejection is funny in terms of the "there but for the grace of God go I" factor as you watch it. But you can't just play a complete putz. That only sustains itself for half an hour. People have to be able to connect at some point.

LL: Do you have any plans to direct?

SC: I think about it. But I'm smart enough to know there are other people smarter to me, and I always hitch my wagon to those people. Because I know if I collaborate it will make it better. I don't want to do it all myself. Because I don't think I can, and I like collaboration. I like the company. I don't like to have the whole responsibility. It freaks me out. I'd want to do it with someone else I could chat with. I like talking things into a pulp. If I'm writing something with a co-writer I'll have an argument or a debate and if he capitulates then I'll adopt his position. Because I just want to talk it through. I like the process.

LL: It seems like one of the messages of Hamlet 2 is that even if you lack talent enthusiasm can pull you through. Is that a message we want to spread?

SC: No, it's not. You think, "Oh my God, people might start writing sequels to Hamlet for real." Like with these talent shows on television. I find those shows to be the worst kind of voyeurism. Eighty percent of [the show] is about reveling in people's failure.

Enthusiasm is important but so is talent. The idea of pursuing fame is sort of fucked up. However, I do think it's great for people to be creative in general. It makes them feel better. If people want to varnish driftwood and it makes them happy then that's fantastic.

LL: When do you start shooting Night at the Museum 2?

SC: Oh, we start shooting next month.

LL: I always try to end with a favorite food question. What's yours?

SC: That would be fish 'n chips with mushy peas and lots of salt. Oh, and any kind of curry. Indian curry. Interesting fact: The most popular dish in England used to be fish 'n chips but now it's chicken tikka masala.

And with that our time was up. Hamlet 2 has a limited release this weekend.

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