The only way you survive on all these services is if you're groundbreaking. There's pressure to be groundbreaking, which is the greatest thing that's ever happened. It's a bizarre aspect of what's happened with all of these subscription services is everyone is trying to outdo each other by doing great things.

Every joke is an experiment. When you sit, alone, and write a script, or just a joke, you really have no idea if it will succeed.

The only thing I knew in the world as a little kid was comedy. And no other kids in my school cared about it at all. There was no one to talk about it with. You know, we're in a geek culture now where comedy is so giant. I'm one of the people that, you know, works on Funny or Die. And there is just a giant culture of comedy nerds. But back then, I was alone, and I had a little confidence about it because I felt like, this is my thing, this is the only thing that only I know about.

I think the story should always determine the visual approach. There are situations where you want things to feel alive and like life, and there are situations that should have some magic and the separation with the grain.

There are only so many hilarious actors so when they cross-pollinate, people assume it's always the same actors and directors.

In the writing, I'm just trying to go deeper, emotionally, and learn more about myself and reveal more and find a way to connect with people in new ways.

One of my fears is that I'm suddenly not going to be funny, but still think I am. That's like my nightmare that I can wake up in a cold sweat from.