I'm sure there are people who say like, "I was wearing weird emo eyeliner," but there's something pretty embarrassing about the jazz phase.

Mel Brooks came to see Oh, Hello in L.A. Mulaney and I had a meeting with him, and we invited him to come to the show, and he saw the Oh, Hello show live in L.A. To me, he's the most famous person. Having him come to our show that was so inspired by both of us loving The Producers and all his movies.

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 feel like we have so many different ways to express ourselves now, and I relish, I feel very lucky to be doing comedy.

There's just a feeling, when you're just an actor - I have great admiration for people who are just actors. I don't understand it, the idea of waiting to get cast, being at the whim of others. I find it incredibly powerless and frightening, so that's why I've been constantly trying to create my own content.

When you're playing something, hopefully, if you're doing your best, you're advocating for your character and you're not trying to think too much.

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.