I remember the review from Michael Wilmington in Chicago, and Gene Siskel wrote really smart reviews where I thought, "Oh, they totally get what we're attempting to do."

Some people make movies and think, "Well, I'll just keep asking for more money if this isn't enough." And then there are other people, like Clint Eastwood, who always come in under budget.

The first comedians I became fascinated with were the Marx brothers. I couldn't get enough of them. Later in life, I thought, "Well, maybe it's because they were so rebellious and they were just flipping the bird to society and all the rules we're supposed to follow." They were saying that none of it is fair.

I think it's fun to have people see everything at once, and then I think certain shows are very well-suited to being on every week and being spread out over months.

There's something so scary about trying out new material and being completely comfortable jumping into the abyss with a comedic idea.

I think, there were probably problems with show business where producers and directors would try to get the writing credit also. So they created a rule where the bar, to get your name added to the writing credits, if you've done a revision, is very high if you're also the producer or director.

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