I think I've got it pretty easy compared with somebody who works at a desk nine to five. I'm just working for an hour in the evening. I get a bit breathless, as I have to talk non-stop because of the puppets.
— Nina Conti
Because I'm around comedians all the time, in my downtime I tend not to watch comedy. Something the whole family enjoys is 'You've Been Framed!' It satisfies all of us. It's universal, and we all laugh a lot.
I think acting is overrated. I'm not sure I enjoyed it. You never get to write your own roles. It's wonderful for some people, but I found it nerve-wracking. I was too busy worrying that no one would give me their words to speak.
If I'm on my own, I'll speak to 'Monkey' to generate new stuff for the act. I mean, I don't do it for moral support, although I wouldn't say that's out of the question. In fact, I could do it, I might do it... yes, I think I should actually start doing it more.
My dad is a much more flamboyant character than I am. I think that's why I couldn't see myself going into straight acting. I always just felt daft.
I had a terrible dream when I was pregnant; I dreamt the baby had a ventriloquial mouth, but there was no hand hole; I had to flick the mouth down to get words out.
Having a puppet is a way of having opposing opinions - I say a thing; he says the other.
If I have a gig in the evening, I get 'the doom' at about 5 P.M., when I think I'm getting flu.
I will remember the night I won the New Comedy Awards, as I was young and unformed, so that sticks in the mind. I've also done a fantastic gig at the Royal Albert Hall, which was amazing. Appearing in the Christopher Guest film was also a real highlight, even if I was only in it for a couple of minutes.
The character of the monkey just grew from something out of his face and my granddad's personality. They fused, and that's what I ended up with! The monkey belonged to a friend of mine, and I saw that it had such a little beguiling face and it grew from there.
I thought people would think I only wanted to be an actor because my dad was, rather than because I had an innate calling.
The way I talk to the puppets is real, and it's in the moment, and it's seeing what will happen. It's not something that is scripted.
I feel Scottish when with English people, and when I'm with Scottish people, I realise I'm English.
With acting, I always felt like I didn't have control of it. It was all about other people giving me a job.
Once I'm on stage, there's just no time for a sip of water - I've always got my hands in puppets! My voice is raw by the time I finish.
I could never be on stage on my own. But puppets can say things that humans can't say.
I always said I wanted to be scientist, but I didn't really have the staying power.
My puppets are far more liberated than I am. Ventriloquism is a useful way of expressing myself.
So many actors are lively-minded, creative people who just tread water in this awful way, waiting for the phone to ring and doing their hair for auditions. It feels like a bit of a dreamer's life - as opposed to a sensible ventriloquist's life.
The most satisfaction I get is from doing a good gig, which really makes you feel in control. If you've worked a room really well, it makes you feel great. TV is a bit more difficult; there are more factors that can screw it up along the way.
I was really awful at auditions. There's something about sitting down and saying into the camera: 'I'm Nina and this is the name of my agent.' That makes me just die inside.
It's sad, the lottery. Good projects get funded by it, but there's an air of desperation about it.
I make napkins talk in restaurants, socks talk on car journeys. There is an awful lot of puppetry going on in the house.
I looked into studying psychoanalysis, wrote to the governing body and was about to start the year where they psychoanalyse you, four times a week, before you get to do it yourself. I just thought I'd taken the ventriloquism as far as I could. My act is so deconstructive, and I'd made all the monkey jokes anyone wanted to hear.
I've started running three or four times a week, which prompts millions of sketch ideas.
I like my squishy, red, high-heeled Vivienne Westwood jelly shoes. They make you seem like you're much more of a go-er.
I'm training to become a giggle doctor. It's a kind of hospital clown who changes the atmosphere on the ward and helps recovery. It's about making patients laugh but also much more.
Acting is seductive. It looks so much fun. I did dally with other things. I did pupillage in a law firm, but I didn't like the look of how many files the lawyer I was working with had to take home every night. It looked like a hideous amount of work, when actors were having nice lunches and discussing books.
I do laugh when I hear myself saying, 'I am a ventriloquist.' I am definitely suited to it, though. I took it and ran with it quite hungrily. It is not for everyone, but it is just the chance to write for a character.
I don't want to tie myself into one area or the other. I think its important not to rely heavily on either TV or stand-up, but to let them work off of each other.
When I'm gigging, there's an uneasy shift when I pull a puppet out. People look at me aghast and I feel I have about 20 seconds to win them over. You even get the prejudice among other people in your own profession.
