I feel no sympathy for my food.

I remember, when I was an up-and-coming comic, how annoyed I would be when the famous guys would show up and just take everyone's spots.

I remember thinking as I was doing the jokes for the first time, "If I can hear that very clearly, I'm not hearing laughter." It just became deafening, this buzzing noise. I mean, it was brutal. It was really terrible. Then I remember thinking, "At least nobody important, or anyone who I really respect, saw that." And then literally right when I went off the stage, Jerry Seinfeld got up and went on. So I was like, "Oh great. Seinfeld saw me bomb." On the other hand, I thought, "At least no one will be thinking of me anymore. They'll just be focusing on him."

We live in a world where in the movie you can disembowel someone in a youth hostel in Romania, but you can't show people having sex. I think it's weird.

Like Toy Story, the joke is all about exploring the secret world of these various everyday objects.

We originally actually wrote Franco's part [in the Pineapple Express] for me and the part I ultimately played just for someone else in general. Then when we got Franco involved we thought it was a good idea to switch the roles. I think it worked really well.

I was, like, a brown belt, which is pretty good. I entered a tournament once, and I punched the guy in the throat and got disqualified. I realized - I don't know if you're familiar with "Karate Kid," but the bad guys in that are called Cobra Kai, and they're, like, the evil karate guys. And then when I went to the tournament, I realized that's what we were; we were like the Cobra Kai of the Jewish karate community.