The craziest thing about TV directing is I turned in a version, and then they made their final changes - so I don't know what they are. So I'm like, "Ooo, I'm dying to see the final print."

I'm not a guy who sees the desire to transform with each part; I'm not a piece of clay.

It's a really weird feeling when you write something and you really know it and then you watch actors come in and do it.

You know, what 'New Girl' is doing is they're bringing in really cool people. These are home-run people who aren't your typical guest-star-type people.

Problem is that my athletic abilities in my mind are greater than what my body can accomplish. And my level of fear and anxiety of getting injured is greater than my courage.

In L.A., if you're in improv, and you're on those stages, all the big agents and managers and producers are watching those shows. They're not flying to Chicago to see the show. People are booking jobs off the stages in L.A. who aren't more talented than the guys in Chicago. But the most guys book out of L.A., and the second is New York.

I think a lot of people are very good, but I don't think anybody could do my rhythm. I was thinking, "If you want my rhythm" - and when I was writing, I was writing them for myself - "why am I watching another actor doing what I should be doing?" It was just a really unpleasant experience.