My goal was to do something that incorporated all the stuff I do and have it feel like something new, like it was hopefully taking the stand-up special paradigm and turning it on its head.

Music was not a big deal to me when I was in middle school. And then I slowly became a big jazz fan. Even more than concerts, a lot of my high school time was spent going to jazz clubs in the city.

In real life, you care about other people, but at the end of the day you're like, "I'm acting upon whatever it is that I want or need."

I like to think that the stuff I do is oftentimes collaborative, so to have other people in it felt natural.

I had PubLIZity, I had Oh, Hello, I had Bobby and Farley - all of these sketches that were really these duo sketches, but the relationship between them is really what catapulted them forward. A lot of that, I think, came from Wayne and Garth, these two similar guys - they're Midwestern metal guys - but in the end, they're quite different because there's an alpha and a beta. And I think that model became very present for me on Kroll Show.

It's the saddest year in movies. We've got "Manchester," "Moonlight," "Chronic," "Jackie" ... it's sad when "American Honey" is the happiest film of the year and it's about runaways aimlessly trying to figure out their lives with no parental figures.

Robert Altman made that movie Kansas City about the jazz scene in the city, and we saw that band all together, and that was an amazing show. That's what I got into. I like jazz.