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.

The people who are the worst at news, who kind of engage in what I call the World Wrestling of news, have kind of set the bar for where news is.

What I really need is a woman who loves me for my money but doesn't understand math.

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.

You're always on duty because you're in a constant state of observation. That's one of the challenges of being a comedian. I think one of the other challenges is that, whether we like it or not, it's a profession that requires failure. It doesn't just encourage failure. It requires it because it's all trial and error. You need to know what doesn't work to know what works.

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.

You've got to remember that improvisers are writers and actors and directors all simultaneously. That's what's happening in real time because you're writing on your feet, and you are acting out the words and you are directing what the staging is. You're deciding what staging is.