A sequel is such a daunting thing, because you don't want to lose the magic and the charm of the first one.

I realize that once I stopped fighting the technical process of how to move my body, I made it choreography.

I've always said that the experience of meeting an artist that you are in awe of and that you hope to create with one day is usually disappointing because you put them up on a pedestal, and then you're like, 'Wow, that's not a nice person.'

I think in general, romantic comedies tend to take one person's point of view, but every once in a while you get something that is balanced for two people.

I mean, yeah, Anne Fletcher was a choreographer, but she was born to be a director. You need to have the ability to figure out people's rhythms. It all starts from the script.

A sequel is such a daunting thing, because you don't want to lose the magic and the charm of the first one.

If you're gonna tell a story from beginning to end, I always think you have to have a great structure in a script. If it gets you excited and it's something you've never read before that's another plus. I think also with improv and that whole world of stand-up, that's a whole other organism of comedy that still needs a story, but it's more free-form. On the set, it is the combination of both those worlds coming together: a great script and an allowance to play with it.