I will say what I aspire to is a consistency in making films, to direct something every couple of years.

Backup dancers are completely respectable. They're the studio musicians of dance.

I think our culture views success as visibility, being seen as being successful. Whereas I've learned that success is rooted in helping and connecting to other people, and knowing where you can contribute. I've kind of spent my thirties doing that, because in my twenties I was seeking any kind of success.

I performed for the U.S. troops in Guantanamo Bay. And signed autographs for people who've been gone from America for so long they didn't realize that I'm not famous.

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.

Sometimes when I do a joke and it doesn't get a lot of laughs, it kind of feels like I'm doing jazz. That's kinda cool because jazz is cool, but sometimes jazz sucks ... Maybe I'm the Kenny G of comedy.

Life is unfair and improv is a great metaphor of that.