I love dipping into worlds at a fast and furious pace. A little glimpse allows the audience to put together the rest of that world in their brain. I love sketches that require the audience to piece together the comedic engine themselves. Give them all the information but not tell them what the scene is about so they can have that eureka moment of, "Oh my God, he's only used to the way urban students pronounce their names. That's what's going on here.".

The conversation about race is inevitable. It's one that people know that we have to have and continue to have.

Anyone who's really utilized collaboration has a philosophy like, 'Let's throw it all against the wall and see what sticks.' That's how we do it. At a certain point, we're cutting scripts that we love.

I think that human beings are the most awful monster we have ever seen.

If it's comedy, you taken an absurd comedic notion and you apply it to reality. If it's horror, if it's a thriller, you do the same thing.

It's a no-win situation with politics, it's always going to be stressful. I'm more into the comedy of life.

For me, the social thriller is the thriller in which the fears, the horrors, and the thrills are coming from society. They're coming from the way humans interact.