I really put my heart and soul into everything and I don't want a project that doesn't feel real to me or I don't get invested in. In order to drive a show for eight or 10 years or whatever the target for doing a show is, it really has to be a part of you. Because then I can come up with stories for seasons and seasons on end. I wish I had the ability to just like the idea and get people in and drive it that way through their enthusiasm. For me, it has to be a little more of a personal thing, even if it's not a completely personal story.

My style of comedy is very real and bittersweet, and sort of always on the verge of kind of being tragic.

At the end of the day, successful box office just means that more people saw what you did and liked it, and that to me is the most important thing. That a lot of people saw it and liked it.

The British model, which I've always thought was great, is that you do a TV show and then they sell it. Then you can buy it at the video stores forever, so it never went away. But American TV used to be if you had a show and it got cancelled, then it never existed. It was just this thing you heard about and you couldn't see it again. There is something so great about shows getting released and people getting to watch them over and over again. It definitely takes the sting out of it.

I'm glad I took the leap away from acting into going behind the camera because it's much more satisfying - I love acting and I still do, but it's much more satisfying to be able to make the stuff.

Forty is the line of demarcation that says you're an adult now. You're an adult, so don't pretend you're a kid anymore.

Every director should take an acting class.