How, after ten years performing together on stage, did you get a TV show?
KATY: We were asked to do the pilot in 2010. That was from an Edinburgh show. Then we were on a waiting list for a sketch series, for two years. Someone died and donated their sketch organ.
And have you done what you wanted with it?
KATY: We've worked really hard.
ANNA: We've fought hard too, when it's been needed.
KATY: We really did. I got neuralgia. From the stress of it all.
ANNA: We're very proud of the show. There are no mistakes in it. People assume that if they don't like something, the person who made that thing has made a massive error. But that's how we wanted it.
What did you fight for?
ANNA: We love a bit of nuance. A bit of subtlety. A bit of sotto voce. You have to fight for that in telly. They get frightened of slowing the pace down. They think it saps the energy.
KATY: They think young people have short attention spans. We can't do neat.
ANNA: We're not into endings.
KATY: Sometimes in our live shows, if we couldn't find an ending we'd just do a dance. Or pretend we were a train, to get off stage. I've never been able to do endings. In my personal life, and professionally.
ANNA: It's been ten years now.
KATY: All because I can't end things.
Were you any good ten years ago?
ANNA: I think we were better than we are now.
KATY: We totally peaked. It started off quite high, then it went a bit [does an arm graph] like that, and now we're back.
ANNA: Just in the nick of time.
You're known for being in other people's sitcoms (Anna in Lead Balloon, Katy in Not Going Out). Now this is your own thing. Pressure?
KATY: We did feel that pressure. That's why I got neuralgia. And sinusitis. Lots of health problems.
ANNA: Sicky-knickers. It feels like it's come naturally to this point. We've done the graft, Jack. We've done our apprenticeships.
KATY: It was exciting being indulged, being allowed to create your own stuff.
ANNA: Being in other people's shows you realise that the star of the show, everything that comes out of their mouth on set is laughed at. It's nice to be that person now.
KATY: What day was that? No but it's great to be... sitting at the captain's table.
Describe your writing process.
ANNA: It would usually consist of Katy aiming to get to mine for about ten and turning up at 12. Then we'd have a chat, take the dog out for a walk, and come back for some lunch.
ANNA: Loads of soup. Marks & Spencer do a really good range.
KATY: When the builders were round Anna's house, God knows what they thought we did for a living. They must have thought we were kept women. I'd turn up, the builders would be there, they were Polish, and we'd be on the internet, then asleep for a bit, then eating soup, then laughing a lot. They must have thought, what the hell are they doing?
ANNA: They do know what we do. One of their wives is really into the show, she loved the pilot. She hardly speaks any English. She thought it was hilarious.
KATY: What does that say about the show?
ANNA: It's international. We're the new Mariah Carey. That's not who I mean. Who do I mean?
KATY: I don't know. I laughed anyway.
ANNA: Angelina Jolie. She's international.
ANNA: We take it in turns. Sometimes you really want to be the typer. Other times, you really want to be the pacer.
KATY: The one throwing the baseball into the glove.
ANNA: Swilling the whisky.
KATY: Smoking the pipe. "New heading: sketch."
Where do you get your crazy characters from?
ANNA: We'll come across someone in life and if they fascinate us, we'll talk in their voice for weeks. We worked with someone six months ago and we've been talking as him since then. Not someone famous.
KATY: We collect people.
ANNA: Then we'll put them in a situation. And pop them in the show!
KATY: Yes, TV is really easy. More people should do it.
Did you fall back on ten years of old material?
KATY: We tried putting a lot of old stuff in, but it wasn't right for telly. It was kind of crazy, the live stuff. It needed structuring.
ANNA: It needed a man's touch.
KATY: Yes. Logic. If we get a second series, we'll try again. The two Australian owls that are really bigoted and horrible to their wives - they'd be good actually.
Which previous sketch shows do you admire?
KATY: Big Train. All Chris Morris stuff. Monty Python, as a child. The Fast Show.
ANNA: Kenny Everett. The Fast Show came out when I was at university, that was exciting. Bit before your time, probs.
Which previous sketch shows is yours as good as?
ANNA: Oh no, we can't say that.
KATY: It's as good as A Question of Sport.
Phil Tufnell or Bill Beaumont?
ANNA: Bill Beaumont.
How much of a duo are you off-screen?
ANNA: We go away on holiday a lot.
KATY: We're in each other's rhythm.
ANNA: We have a little sleep together sometimes. Not like that. We curl up and have a little kip.
KATY: I'm slightly taller. Two inches.
ANNA: We've both got older brothers called Rob, mums from the Midlands and Celtic fathers. Oh and we nearly changed our middle names to Ralph by deed poll.
KATY: We filled out the forms, then chickened out. It would have been a statement. This, this is my life.
ANNA: We finish each other's...
Will you celebrate episode one going out tonight?
ANNA: She's coming round mine. We're just going to have some dinner. Us and my husband [William Andrews, who co-stars in the show].
KATY: We've seen it so many times.
ANNA: There's nothing worse than sitting in a room full of people watching yourself on telly. And it's on quite late. Half past ten.
KATY: I'll book a taxi for the minute it ends.
ANNA: You could stay over. She's south London, I'm north. It's not ideal.
Half ten or, more accurately, 10.35pm on C4 seems a bit too late.
KATY: Is comedy usually on at 9 on Channel 4? I think that's The Restoration Man.
ANNA: It could be pre-watershed.
KATY: I can think of a couple of f**ks.
ANNA: The German stuff has c**ts in it.
The Countdown spoof, "K**tworts"? I wasn't sure if that was German or Danish.
KATY: It's German in our heads. It doesn't matter. It could be racist against anyone. There's a different cod German show every week. Antiques Roadshow. Jeremy Kyle, that's a favourite of mine. It's so dark.