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 don't believe in karaoke. Let's let the singers sing.

I prefer to work with first-time directors.

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.

All of a sudden Mindy [Kaling] was writing on The Office and had sold a TV show. When we'd try to write shows, we'd jokingly call the word documents "Hit Show." We just couldn't crack the code.

You know, I'll tell you, nothing changed after 'No Strings' for me. A lot of people said, like, 'Your game will be different,' but it wasn't. It really wasn't.

I was in a two-person show [with Oliver Ralli] called the Midwesterners where we wrote all of our own stuff and we traveled the country with it. That's what eventually led me to L.A.