My first writing jobs were writing Tom Arnold specials for HBO, so I love working there.

I always feel like I'm very far from my potential.

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.

I think people like Lena Dunham really opened up the door to what was possible, and they've inspired young women to go into filmmaking and writing and directing and acting in a way that maybe they didn't before, because now there is a path and there are jobs.

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.

Penn [Jillette] and Teller and I get along very well. We can call each other and say, "I'm working on this classic effect. Please, I'd like to do it for a while." We'll all respect it. There are people we don't get along with, but mostly there is a respect amongst the group.

I was listening to Tommy Chong talking about how he feels like there is like a creative flow happening and how certain people just know how to hook into the pipe. He played music with Jimi Hendrix and felt that he was personally connected to some higher intelligence or creativity.