I loved the idea that I could write a joke and someone else would have to take the risk of performing it.

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."

The Cable Guy was underbudgeted, so it was always a debate about whether we could have more days or certain things that we needed, because the budget was determined before the script was written. So that made it a hard production on everybody. But it's also a funny thing, because it's one of those movies that cost $40 million to make and made $100 million around the world, but at the time, it seemed like a disaster that it didn't make hundreds of millions of dollars, because Jim was on such a tear. But it was actually a successful movie.

I think a lot of studios today are run by women, and we are entering a time when a lot of women have evolved in Second City and Upright Citizens Brigade and wanted to become writers and comedians.

If the movie's not communicating, it's not working.

If you develop 10 things, and you can get two or three made, that's a very high ration.

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.