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.

That's very important to me as well: presentation and how people perceive you, the visual of how things look, your posture. I learned that from [Bob] Fosse and Jerome Robbins, from all the great theater directors and the Busby Berkeleys. You overdeliver: visually, emotionally.

Just trying to tell the truth about, you know, the struggle of - being alive is funny, it's just inherently tragic and also hilarious - in a fun way and in a sad way. That seems to connect with people.

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.

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.

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.

I hear Amy Schumer on Howard Stern, and I think, "I wish there was a movie that starred her, because she's so interesting," and then at some point I go, "I guess I have to get involved, because it's not happening right now. Maybe I should help try to make that happen."