I feel incredibly lucky at this moment in my career to get paid to do basically exactly what I always wanted to do. I appreciate that in general. But you know, like any job, a job is a job, and there are days that are going to be boring, or you have a boss you don't like, or people you work with.

Mel Brooks and Carl Reiner are the funniest dudes ever, and they have great careers on their own. They made great art in the '90s, and they still have dinner three times a week.

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've decided to just keep doing Oh, Hello, where I play an older man who thinks he's very cultured. That clearly has not gone away.

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 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.

My first concert isn't that cool or ironic. I wish it had been like, "My first concert was the Backstreet Boys," but the first concert I went to, I think, was this band called The Samples.