My writing process is very feedback-based. When I do stand-up, I listen to the audience. I try to understand what's connecting, what's not connecting, and then rewrite, rewrite and rewrite.

I think serious situations actually make for the best kind of belly laughs. But theyre also the hardest to convert into comedy at the outset.

When I was in college my improvisation troupe and I did a road trip to Chicago, and went to The Second City to see the classic 'Paradigm Lost' revue - with Tina Fey, Rachel Dratch, Scott Adsit and Kevin Dorff. It blew my mind, and proved to me you can do sketch comedy like you're doing 'Long Day's Journey into Night.' We could treat it like theater.

All techniques of comedy are valid and interesting to me.

I actually love 'Saturday Night Live,' like a sports fan watches their favorite team to see how they're doing. I know the players and the writers, I've known several people on that show for a number of years.

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.

Sometimes when my fans come up to me, they think it's going to be entertaining, like I'm going to tell jokes or do bits, and then instead of that I end up talking about really mundane things with my fans, and then they're kind of like, "This is boring. I want to go talk to somebody else." I think I bore my fans to death by over-talking to them.