When you're making your 20th movie, it might be the 20th most incredible thing that's ever happened to you!

I'm getting older, so how people face grave circumstances is of interest to me. And you meet a lot of people who are very courageous, and it doesn't reek of something funny to write about, but I always think that the higher the stakes, the bigger the laughs can be, and the more emotional the scenes can be.

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 am always driven by the terror of humiliation.

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.

In my work, there is a lot of storytelling. The storytelling is not a new thing. Back in the [Howard] Thurston days, the [Harry] Houdini days, the [Harry] Blackstone days, it was stories, but the stories were, "We're going to the Egyptian temples, and we're going to vanish the Prince of Thebes," and, "On my last trip to the Orient ..."

Television is much more difficult because at every moment, the network can force you to change things based on their belief about what would make it popular. You’re in a constant debate with a gun to your head, and the gun is cancellation. So it’s hard to win the arguments.