I'm always talking to people. It's not that complicated. I just find somebody and say, "Do you have any ideas." If they do, we just start thinking things around.

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.

Most comedians weren't great athletes; that was the way they got noticed in high school.

I remember the Time review [on the Hit and Run]said that there wasn't one laugh in it. And I had watched the movie 50 times with audiences, and it always played great. There was certainly a moment where you could tell the audience was like, "Wow, this is really getting weird."

I often say that ... I'm just involved in comedy, so I can be around it.

I test the movies a lot, and if the audience says they love the movie, we know we're on the right track. And if they tell me they hate it, I try to figure out what I've done wrong. But every time out, the audience wants me to go deeper, they want to know more about the characters, and they don't want these movies to be shallow. So they really urge me to tell them a complicated story, and then when I do so, they're thrilled

I've come to believe that the simpler the title, the better. Whenever I try to get cute with it, it seems to be a problem but if it's just The 40-Year-Old Virgin, people seem to know what they're in for.