Risteárd Cooper

It was kind of like almost Monty Python-esque kind of a sketch.

So but it was important to nail the impression of Pat.

But with him, I noticed when he was on TV, his gestures were quite square and full on, square on to the camera.

And his movement sort of made me just kind of, you know, informed how he might speak.

So, yeah, it's there's one or two people, I suppose, over the years that you need to really kind of study and study their behavior in order to get there.

Because nobody had really done him up until that point.

And he wasn't an immediately obvious candidate, I suppose, for mimicry.

Are some people very doable?

Yeah, I think they are.

And I suppose it depends on your own vocal dexterity, I suppose, to some extent.

And also how you hear people.

There are some people, I suppose, that...

you need to make it a very, like I do a sketch, for example, with George Hook and with the contrast between him, say, and Eddie O'Sullivan, you know, and that sort of contrast between those two is kind of a paramount to the sketch working because there's just such a big kind of vocal shift.

And I'm also doing, you know, Brendan O'Connor and people like that.

And there's a whole new kind of, I suppose, canon of impressions out there now for me, which is great.

But there's always... I mean, my show, which is called Out of His Head, which I'm touring, is...

It's a combination of impressions, but it's not just me standing there doing voices for the show.

I take people on a bit of a journey.

I mean, one of the themes running through it is, you know, what we were... The cultural landscape, I suppose, how that's changed from, you know, 20 years ago, 10 years ago, to the way it is now.

And I suppose what we could get away with saying, or not even get away with saying, but what was...