The thing that's the biggest bummer about any live show is a hot, sober room. So if it's during the day and people are a little buzzed, great.

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.

It was easier to know a character's point of view than it was to figure out what your point of view was.

My friends, we all improvise together usually. So we write what I think is a good script but always leave a lot of room to find stuff on the day; and we always do find something. That's the advantage to having actors who are, in their own right, writers.

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.

I found, especially with stand-up, that if a premise works, you can make the joke work. If a premise doesn't work, you can't force it to.

For me, I was literally trying to stay afloat. I never actually thought I would get my own sketch show. So the idea that one day I would have my own show is pretty wild. But once I got it, I thought, 'Yeah, this is exactly what I always wanted to do.