You see a lot of sides of people on a movie set because it can be really taxing and to kind of go through all that together - you really get to know someone.

Working on The Daily Show, I co-produced all those field segments, and that's another huge thing.I probably did more than 100 field segments.

When you're playing a fictional character reacting to the real world, it's incredibly difficult and confusing and kind of messes with your values a bit.

I'm working on a script right about Civil War re-enactors who go back in time to the actual Civil War. It's kind of a big, crazy Back to the Future comedy. So, of course, it's the Civil War - I play the banjo. I was just having a conversation with one of the producers about some of the material and he was like, 'You know, we have to work in a scene where you play the banjo. And I was like I'll get behind that.

I worked as an assistant editor, actually, for a few years. That was right when I was just starting to get out at night and do a lot of stand-up, improv, and sketch work in New York. It really is invaluable. I think it pounded into me an awareness of what an editor wants and needs, in terms of clarity of a moment, where and when to start and stop a line.

Almost everything is in the movie [The Hangover]. I think the fun little Easter eggs on the DVD will be sort of the gag reel stuff. There's a lot of takes we just couldn't get through.We were laughing.

The piano song that I do in the movie [The Hangover], it's a great example, that was never - that wasn't in the script.