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.

Any acting job that I ever got, I always treated it like I was a neophyte, I didn't know what I was doing and I was going to work just as hard as I do on my stand-up.

I think I realized it was an art form at the beginning, but it took me a really long time before I was able to view what I was performing myself as an art form.

All the truly great stand-ups say, "I go onstage, and I work on jokes. The inspiration will happen while I'm doing my work." To me, in the end, the surest thing is work.

I'm grateful that I had that uphill battle for 10 years of going onstage and having nobody know who I was, because you have to win them over. I have a lot of friends who were stand-ups, and they just stopped after a while, because they didn't like that battle. And then they would get on a sitcom and get visible and get back into it, because the audience was just way easier on them. That's why they're okay stand-ups, but they're never going to be great, because they don't have that presence. They never built those muscles up.

I've hung out in the writer's room a few times, but the fact is we've got such a good writing staff, I don't want to get my peanut butter fingerprints on anything.

Knock on wood, my groupies tend to be very artistic, creative people - sometimes way more creative than I am.