The worst thing you can do is animate something, and then throw it out because it doesn't work, story wise.

The Lampoon was definitely quite formative. You know there's a crazy like kind of network of comedy writers from The Lampoon that are, that kind of you know like Seinfeld and The Simpsons and a lot of shows kind of had a lot of kind of Lampoon writers and so that was very formative. I mean, to me I got interested in comedy writing at an early like reading like Dave Barry.

All movies are inherently collaborative, and animation even more so. There are hundreds and hundreds of people involved with an animated movie.

When I was writing the script I thought he is this guy. I really hoped...I kept imagining him as that guy. And then he came in to audition and I was really nervous because I really wanted him to do Greek, you know? And he...I didn't know who else I could cast. And he was amazing in the audition. Really funny.

I think people try to jam a lot of artificial plot devices into a lot of romantic comedies, and they don't treat it with the respect I believe it deserves.

And I watch all the dailies and I grade the jokes or the moments, you know, on a scale from... so I know exactly what we have. And so I can then go into the editing room and be like "I want you to do this moment, this moment, this joke, that joke. I'd like to see 3 versions."

I mean I certainly like when I'm like talking to people I'm like what did you think, what did you think, what did you think? You know that's always in the back of my head.