I always tried to do cool things.

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.

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.

I get inspired when I look at Tom Lennon, who did Reno 911! for six seasons while writing huge movies and directing, and also doing other pilots; he did that FX pilot, the Star Trek thing.

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."

We have a philosophy of we'll keep putting it up until people get it. We did that actually these last three weeks with Cracked Out from New York. People didn't really understand them. We put them up three weeks ago and they just got stared at.

Others may dispute this, we have tried to keep that sense of experimentation and putting new people up alive. And we haven't become a show, where we're like, "We know the 20 comics who are good and we're just going to keep on recycling them."