I used to bug all of the comedians for interviews, and when people want to talk to me, sometimes I'm very receptive and sometimes I say no. Sometimes if I say no, I think, "If they're smart, they'll figure out how to not accept this no."

We are at this weird moment where there's an economic model that supports creativity. People are demanding something new and fresh.

'Deadwood.' I could have watched that forever.

All my cuts are always about three hours, at the start, mainly because any scene in the movie that's 90 seconds, I probably shot a five-minute version of. If you just extrapolate that through the whole movie, I have a very long version of every scene, usually because, if there's one funny joke, I'll shoot five because I don't know if the one I like is going to work. I'll get back-ups because my biggest fear is to be in previews, testing the movie, and a joke doesn't work, but I have no way to fix it because I have no other line.

I don't think it matters what the frequency is of me writing or directing a movie. It doesn't really matter to anybody else. I'm just trying to put good things out there.

Most comedians weren't great athletes; that was the way they got noticed in high school.

My first writing jobs were writing Tom Arnold specials for HBO, so I love working there.