Growing up, I was discouraged from telling personal stories. My dad often used the phrase 'Don't tell anyone.' But not about creepy things. I don't want to lead you down the wrong path. It would be about insignificant things. Like, I wouldn't make the soccer team, and my father would say, 'Don't tell anyone.'

When I was growing up, I didn't know who Jewish people were, what it was to be Jewish.

I actually wasn't really the class clown growing up. The class clown was always the mean guy who walked up and was like, 'You're fat. You're gay. I'm outta here!' I was always more kind of awkward and introspective.

Sometimes I take this women's exercise class called Core Fusion at a place called Exhale. I shouldn't say it's a women's class. There's maybe two men.

I like a naturalism to my dialogue and my comedy. I would rather have a few jokes sail by that might be more subtle than have every single joke hit hard. I would rather the comedy come out of character as opposed to feeling forced. Even if you're giving some laughs up for it.

I never wanted to do observational humor because I never wanted to tell people what they were seeing.

If the setups take too long, you wind up losing momentum. Momentum is very good for comedy. Not having to do eight setups in a single scene and have it take five hours is very good for comedy.

The prospects for a coherent, hilarious and consistent American comedy seem to lessen every year, as the poor waterlogged, gassy corpse called 'Evan Almighty' proved when it floated ashore recently. So there's a temptation to think too highly of Robin Williams's uneven but occasionally funny 'License to Wed.'