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.

My writing process is very feedback based - I listen to the audience. I try to understand what's connecting, what's not connecting... and then rewrite, and rewrite, and rewrite. Chris Gethard and I have been on the road a lot together. When we get on the bus at night, we talk about the jokes that didn't work and the joke possibilities that could work. I think this is a little different from other writers.

My problem with being in New York City is that you really can't make a living as a comedian. You can, but you have to also take writing jobs, which means less stage time.

I thought if I could do stand-up comedy well enough, I could parlay it back into films - like Charlie Chaplin and Woody Allen did. They merged principles of comedy and drama together, and that's what my first film really was, a stab at that kind of comedy.

The one thing you're most reluctant to tell. That's where the comedy is.

I think spending a lot of time with my mom, who's a talker and a storyteller, and my dad, who has kind of a soft-spoken, understated sense of humor, I think that's how I became what I am, which is sort of an understated storyteller.

When you're in a relationship with someone who's selfish, what keeps you in it is the fact that when they shine on you, it's this souped-up shine. And you feel like you're in the club. And you don't even know what club it is. You just know you want to stay in it.