I like that we don't have to come out the first 10 minutes and score, you know, with joke, joke, joke. We can open it in a more novel way and keep playing different pranks as we go through the thing.

We're shaking up a format, which I think is always a good thing. The thing about [2011 Oscar hosts] James [Franco] and Anne [Hathaway] is, they've both hosted Saturday Night Live, and they both did a good job at it. So they are accustomed to working with short rehearsal time, and live, lots of pressure, rewrites, things like that. They can make quick changes, which is very advantageous, and they're skilled comedians.

You know, you have to do homework. You listen to who they are, what they do. I also compare it to designing clothes for people. If somebody brings in Tilda Swinton, you're not going to give her the same dress you'd give Gabourey Sidibe. Everybody looks different in a different line, a different color. The same thing with the way people speak.

I mean, when I started out I was billing per hour, like a shrink because you would sit with somebody and work. But most of it, if it's for a live show it's usually a buy-out. A flat fee.

I mean, I've sold all these scripts and nothing's been made. Studios have closed, stars have died. I had a director find Jesus. And the pictures just don't get made.

It's the biggest party in the world, and you have to keep the whole thing percolating, which is difficult because a lot of awards most people don't care about.

I have one rave New York Times review framed next to a flop Los Angeles Times review. And it's for the same show. These people watched the same show. That's what happens. They love it, they hate it.