It's almost worse because you think that you're mature and classic when you're in the newsie cap jazz phase. It's not a great look, a young person trying to seem old and mature and cultured. That's a summarily not-cool look.

Really, more than anything, The 2000 Year Old Man is a huge influence on all of our comedy, but specifically the live version of Oh, Hello.

The one place I've seen something really come together is in editing. Sometimes you can save pieces in a way that you're really shocked.

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.

I came to New York and started doing stand-up and improv, and started auditioning for commercials and voiceovers and stuff. My first job was on a pilot of that prank show called 'Boiling Points' on MTV.

I like the idea of people getting to know you from different angles and then realizing "That guy is also that guy!" "Oh, he does that!" I really like having a number of different ways to reach people.

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.