Elia Kazan. He wrote my favorite book about filmmaking, 'Elia Kazan: On Directing.' There is a thing in the book that I do every time, it's part of my production structure. He said when you're hiring an actor, ask them what draws them to the project, and don't lead them to the answer.

I think the reason why I'm so alluring to networks is because on the surface I'm like a quintessential relatable, boring white guy. A great many sitcoms have been anchored by a boring white guy, so I feel like what they want to mine from me are my more generic qualities.

Fortunately, I don't talk about politics on stage.

When I'm taking the subway to my improv shows I will be writing in my notebook different actions that I see people doing on the train whether it's eating yogurt or looking at where their stop is, or tripping or holding a baby. It's not preparing scenes and ideas as much as it is stoking your brain to think observantly. Just to place observations in your head, so that they are available somewhere.

Two Drink Mike enjoys dancing and knows a magic trick. Whereas, No Drink Mike enjoys biographies, and has serious opinions on wildlife. And Five Drink Mike... dances with wildlife.

A girl offered me E at the club. 'Have you ever done E?' 'I watch E.'

Failure's hard. There's no way around. Bombing on stage never feels great. You feel judged, you feel alone. But then when your performance works, it's transcendent.