I don't watch a lot of comedy. For relaxation and escape, I watch shows about how people survive bear attacks. Or old episodes of 'Law and Order,' the Benjamin Bratt/Jerry Orbach era. ↗
I lived in Chicago for a few years and got a sense of - kind of that broad-shouldered, windy, um, stern, Midwestern, warm-slash-passive aggressive, wonderful - every adjective I can think of, very cold. ↗
I would love to do a serious period drama. Oh, absolutely. I mean, you'll find most comedians want to do more serious stuff, most musicians want to be comedians, and most serious actors want to be musicians. ↗
I'm going to do 'The Social Network Two: The Electric Boogaloo.' And I have a part in 'Beige Swan.' I'm going to be the lead, but I don't dance. I just do a lot of sitting down. It's too tiring to get up and dance around. That should be coming out in 20-never. ↗
Improvisation is almost like the retarded cousin in the comedy world. We've been trying forever to get improvisation on TV. It's just like stand-up. It's best when it's just left alone. It doesn't translate always on TV. It's best live. ↗
It's not communism, it's shouldn't be that everybody gets a try no matter how good or bad they are. It's our profession and our art, so we should eventually strive to be working with the best people. ↗
Sometimes in my class I have people come in and do monologues inspired by people they know and I always find that to be useful to do specifics about somebody and then you're actually doing a character and not doing some random old lady or something. ↗
You look at the world around you, and you take it apart into all its components. Then you take some of those components, throw them away, and plug in different ones, start it up and see what happens. ↗
If family violence teaches children that might makes right at home, how will we hope to cure the futile impulse to solve worldly conflicts with force? ↗
