I feel like Superbad and Freaks And Geeks are somewhat timeless. That's always gratifying, when you feel like 30 years in the future, people will still get it, and it won't seem creaky. It won't come across like The Incredible Mr. Limpet.

I loved the idea that I could write a joke and someone else would have to take the risk of performing it.

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.

People like everything to work out, and anytime you don't make everything work out perfectly, you really are fighting against what most people are going to the movies for, especially in the summer.

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.

For a long time, TV was just the land of handsome, beautiful people, and now it's the opposite.

I wrote for Roseanne. I wrote her stand-up act with her. I wrote with Tom Arnold. There was a period when I was working with them pretty steadily. But I would take brief gigs here and there.