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'd say any good set or any comedy that I've worked on, that's worked, has been comedians pitching ideas back and forth to each other. A lot of like, 'What if you say this? What about this?' ↗
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. ↗
I've said this before, that, when you're in school and you're the class clown, men are really good at making fun at other people and women are really good at making fun of themselves. ↗
If you do a scene and you really like a character in it or a premise in it to write it down and to work on it so that you can have five or six characters that you can pull out in an audition. ↗
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. ↗
There's something so romantic about being broke in New York. You gotta do it. You have to live there once without any money, and then you have to live there when you have money. Let me tell you, of the two, the latter is far better. ↗
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. ↗
