I was very combative as a creative person at that time [while The Ben Stiller Show]. I didn't understand how to play politics with the studios. I didn't know how to creatively collaborate with the people who were paying the bills, and that came up all the time on every project I was doing, and it took me a really long time to figure out how to collaborate in a healthy way.

I always see other people as predecessors and admire them.

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

You can do weird things on TV - there are happy stories, sad stories, dark stories. But with a movie, it always has to end satisfying. Unless you're the Coen brothers, and it ends with somebody getting shot in the head.

When Jim Carrey signed on to star in [The Cable Guy], and then they asked me to produce it, I made a very brief plea to direct - which was rejected really as quickly as anything can be.

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

I always thought it was important to overdeliver, and when I got one of my first jobs, writing jokes for Garry Shandling when he was hosting the Grammys, I stayed up all night and wrote a hundred jokes, and I thought, "I'm always going to be the person that gives them more than they requested, and that's why they'll want to keep me around."