You don't get a lot of life milestones in show business. It's really difficult to make things, and a lot of times you don't know you're at the end of something. With Mr. Show, I was only a writer and we knew we were going into the movie, and we thought, "Okay, like Monty Python, we're going to make five movies." And we didn't know it was the end. So it ended up being a bummer and such a terrible ending for Mr. Show. We never got to feel like, "Wow, we did it! We did something."

I probably could be a world-class screenwriter by now if I had spent the kind of work I devote on Comedy Death-Ray to that. But I do okay, in that regard. I mean, my stuff gets bought, so it's all right.

Things go away and projects crumble and disappear, or you make your movie and it comes out and no one watches it.

The great thing about the Internet is - our show is totally modular. Every piece can be popped in and out. They're relatively short pieces. They're not long. And we can say, "here' s one way to market it. Take these pieces out of the show and put them on the Internet." And we're doing dirtier cuts and put those on the Internet. It's a real great way to market the show. This is finally the year a show like this can happen.

We like to keep the show small. Honestly, where we moved the show to the UCB theater, we moved it to a smaller space. Even though the show has technically gotten more popular. And that is, only because we like intimacy and the ability to experiment more. We don't want to be like, "We can get 250 people in a week. So let's do that. But we have to be careful about who we book..."

So much of comedy is feeling comfortable with the point of view coming at you. So I understand it. There's people who I find hilarious now, but the first couple of times I saw 'em, I was like "What is this? I don't get it at all."

The podcast was kind of an afterthought, because I was just excited about being on the radio. Then I found that the podcast listenership is some 20 times what people are listening to on the radio.