You have to be ruthless with yourself, in terms of being honest about what is working and what is not.

Beyond any role that I ever had, really early on as a stand-up, I would see actors decide to try it and they would bomb miserably. What I realized was that stand-up, acting and writing are all their own disciplines.

Every zombie story is fundamentally about a breakdown of order, with the infrastructure intact. That infrastructure might be on fire, yes.

You know, in Los Angeles, you're constantly in your car, you're sealed up, you're not walking around. Whereas in New York, after a while, all your stuff is kind of public, in one way or the other. I'm not saying either one of those is bad; they're both great for a very specific kind of comedian. And I'm glad that they both exist.

Having enough money has to go hand in hand with living in a way that you're not being a slave to your possessions.

I want to experience as many different tastes, sights, emotions, conflicts, and cultures as possible, so that I can expand the canvas of my memory and enrich my comedy.

As you get older, as a comedian, and keep doing it, what you actually start to cherish on stage is not the build-up to the jokes, but how comfortable you can be in the silence and the non-laughing parts, and how long you can take the audience without a laugh to then get a huge reaction.