There are the people who overthink making mix CDs and playlists, and how that works generationally is all really interesting to me.

There was a telemarketing job one summer in high school that I was rejected for. I still walk by the building that I actually had the interview in. It's still in New York, and I always think about that job and why I didn't get it.

I grew up in the heat of '70s postmodern fiction and post-Godard films, and there was this idea that what mattered was the theory or meta in art.

There are days when you're in a good groove and the actor really understands the part and comes as prepared every day as you are and is so inside it. And then there's the day where, for whatever reason, it's just a harder slog. And I feel like those are the days where all the preparation and everything becomes more necessary because you have to find a third route there.

My dad was a great movie companion. He wouldn't diminish 'The Jerk.' If I liked it, he liked it. He could see it through my eyes.

Being funny, in some ways, is about being connected to psychology.

I guess I probably took New York for granted. Growing up, playing in the street, going down to the Avenue to the record store and to the grocery store and stuff like that.