It's a real democratic time for comedy, and I think my special is a sign for that. You don't have to just be a classic stand-up to get a special, or you don't just have to be on Saturday Night Live to do characters and sketch on TV. The web has allowed me to show that there are different ways to make people laugh, and the special is a combination of those things.

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.

Oftentimes the shows that don't work help you get it right.

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.

Anyone you give a ton of money to is going to go slightly crazy. I don't think comedians are particularly special in that regard; they just are better or more vocal in their expressions of their craziness.

People want to consume what you're putting out there, and you can create a really strong following of fans and admirers, and people who are invested in your career and your comedy.

In general in comedy, there are fewer people making a ton of money and a lot more people making a living. For me, the goal is just being able to make exactly the show I wanted to make.