I'd say any good set or any comedy that I've worked on, that's worked, has been comedians pitching ideas back and forth to each other. A lot of like, 'What if you say this? What about this?'

In conclusion, I invite the media to all grow a pair. And if you can't, I will lend you mine.

Sometimes you have to kind of keep proving that you're improvising. That's the game, or the goal, of long-form TV improv, is that you have to kind of keep reminding and showing people that you're improvising, because they won't believe you really.

Ladies like improv stilts, and I think men like improv giant cocks. But one of the great things about improv is that you get to play some roles you'd never get to play otherwise, you know, like the old Italian pizza-maker who's passing on the business down to his son. You get to play it all when you improvise.

I get a bit nervous because I just want the show to go well. I think you always have to be a little bit nervous, or else you're a little checked-out, and that's maybe the time when you're not doing your best stuff, because you're kind of just checked-out and falling back on stuff.

I also think if you're an actor and you can improvise, when you go on an audition and you can improvise you're just a genius. If you can, you know, take a Tide commercial and you can just say one funny line that's not in the commercial they think you're a genius.

Well people love to go dirty and stuff like that. It's funny, because even really dirty things can kind of inspire, but all things inspire really dirty improv and monologues. So then really dirty things can inspire the exact opposite. It's kind of a crapshoot.