You take a vacation to a place like Thailand and you're ready for the excitement of something new and foreign. But when you're working 14-hour days, all you want is something familiar to ground you. And there's just nothing there.

As an editor, you're constantly dealing with the best way to convey an exchange between two people. So when I'm shooting, I'm just aware in the back of my head what an editor might want.

The biggest thing that comes out of improv that gets built on is just character traits. You know, for me the singing was born out of improv.

I found myself often asking the question, "Who deserves to be made fun of?" Depending on your mood, the answer can be no one or everyone. It took me a while to understand the math of how those field pieces came together. I don't think that ridicule is ever funny, but there are times when that gets the biggest response.

Don't be afraid of fear. Because it sharpens you, it challenges you, it makes you stronger; and when you run away from fear, you also run away from the opportunity to be your best possible self.

We played around and improvised a ton [in The Hangover], and I think it's hard to say at this point what's what. Gosh, I wouldn't even know how to take a stab at it. The script was so good that we really didn't need to improvise very much, but I think we just found a lot of moments on the set. It's really cool when you get onto the set of a movie and you start shooting the scenes and you start to actually incorporate the environment.

I think that music at inappropriate times with inappropriate volumes can be the funniest thing ever.