Comedy is like music. You have to know the key and you have to find players with good chops.

I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.

People want me to be funny all the time. They think I'm being funny no matter what I say or do and that's not the case. I rarely joke unless I'm in front of a camera. It's not what I am in real life. It's what I do for a living.

The movies have a way of seeping out there over time. We don't put them in 2,000 theaters. It wouldn't work that way.

You know it's important to have a Jeep in Los Angeles. That front wheel drive is crucial when it starts to snow on Rodeo Drive.

In real life, people fumble their words. They repeat themselves and stare blankly off into space and don't listen properly to what other people are saying. I find that kind of speech fascinating but screenwriters never write dialogue like that because it doesn't look good on the page.

I am interested in the notion that people can become so obsessed by their world that they lose sense and awareness of how they appear to other people. They're so earnest about it. But that's true of so many things.