I wrote on the Grammys, and a few times for Garry Shandling when he was hosting. I couldn't have enjoyed those gigs more, because I would get to collaborate and try to make people I looked up to laugh, but for the most part, when you're as talented as they are, what they really want is someone who can type fast and whose presence makes them feel in the mood to write and spew and be creative, and I was a good person to have in the room.

I often say that ... I'm just involved in comedy, so I can be around it.

Well, every movie is an experiment. And the only way you can grow at what you're doing is to take chances. You can't try to stick with what worked last time.

I remember the Time review [on the Hit and Run]said that there wasn't one laugh in it. And I had watched the movie 50 times with audiences, and it always played great. There was certainly a moment where you could tell the audience was like, "Wow, this is really getting weird."

Just trying to tell the truth about, you know, the struggle of - being alive is funny, it's just inherently tragic and also hilarious - in a fun way and in a sad way. That seems to connect with people.

If a woman says, I love myself; I love my body; I'm comfortable with my life, comfortable with my mistakes, and I deserve a seat at every table and everything should be completely equal, there are guys who lose their minds.

I test the movies a lot, and if the audience says they love the movie, we know we're on the right track. And if they tell me they hate it, I try to figure out what I've done wrong. But every time out, the audience wants me to go deeper, they want to know more about the characters, and they don't want these movies to be shallow. So they really urge me to tell them a complicated story, and then when I do so, they're thrilled