As an editor, you're constantly dealing with the best way to convey an exchange between two people. So when I'm shooting that, I'm just aware in the back of my head what an editor might want. And also, the problems editors run into when trying to edit performances - it helps me head that off at the pass a little.

I told personal stories the way [Bill] Cosby would spin a yarn for ten minutes. I think in hindsight it works better as a long story than as a condensed monologue.

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.

We spent six weeks there [in Vegas]. The only thing crazy that I did was shoot that movie [The Hangovers]. The stuff in that movie is way crazier than anything I might have done, drunk one night in Vegas. I mean we did it for real in the movie, so that's as crazy as it got.

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

The scene [in The Hangover] where the tiger actually pops up behind us, that's actually a Jim Henson tiger puppet. The Jim Henson Company actually supplied that tiger. And it's really cool. Its entire face moves. It has like all these little motors in its eyebrows and cheeks and mouth. It was amazing.