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 think there have been so many documentaries about pop stars, made by pop stars. It's a new phenomenon. People making these movies where they praise themselves and show their own weaknesses. it's all designed to make you love them even more.

I was a guest on Comedians in Cars Getting Coffee with Jerry Seinfeld, and I interviewed him when I was 15 years old-those moments really blow your mind.

It's so funny, all the similarities that we have [with David Copperfield] of being obsessed young people and finding a way to be around the people doing what we want to do.

I start casting early in the writing process, so I can tailor the script to the gifts of the actors.

I like to make movies the way people made movies in the '70s, where they lived and died with these stories, and cared about them, and went to war for them, and they all said something they wanted to say.

I think my instinct creatively is to make things that are very funny and happy and silly. And in this moment where the world is very scary, I feel like my role is to make people laugh really hard.