If you're not connected emotionally to a story, then you're dead. You're really just opening the door for people to lose interest and their minds to wander, for them to start picking it apart.

I always feel in improv that nothing is ever as good once it's repeated.

I'm extremely, extremely lucky to be who I am and do what I do and work with the people I work with. Even though I can always find something to complain about, I find it very hard to complain.

The reason most comedies don't win awards is that the filmmakers put the comedy first. This means you have to create a story around the jokes.

I think things go wrong when there's not a very specific plan and specific emotional roadmap. You need to know what a scene needs to get across, and what story point that needs to be advanced, whether it's discovering someone for the first time or whether it's seeing a relationship get strained. What I do as a director is really create a safe environment that everyone can feel very comfortable in and experiment within so that they don't hold back anything.

I always felt, and still feel, one of my best strengths as a director is having been an actor for a long time. Nobody knows actors and their insecurities and strengths and everything more than somebody who's done it before.

Handheld camera is approximating what we're seeing when we're looking at each other, and kind of looking around, and your eyes whipping around. It adds an immediacy, where you feel like you are watching something through your own eyes, standing there with them. And that just allows you to take more liberties and have more fun with people's behavior.