My first car was, as depicted in 'Sleepwalk with Me,' my mother's '92 Volvo station wagon that had 80,000 miles on it, and I had put 40,000 miles on it, so by the time it retired it had 120,000, and I basically killed it. It served me well, and my mechanic was always very angry with me because I just didn't properly care for it.
I'm generally so disoriented during the week about what I'm doing and where I am - I travel a lot - that when I'm home on a Sunday, I typically try to sleep in as much as I can.
As a comedian, you want people to like you. That's part of why you're there in the first place: You have this unquenchable need to be liked, and then when you divert from that and take a chance at doing something that has moments of fierce unlikeability, you can hit some real low points.
The Hollywood model is to develop scripts for 10 years, sell them, transfer them, attach this actor, then attach a director. This isn't what I'm about. I'm much more of a creator and a doer.
I just don't give off a great first impression.
I think that my regrets mostly have to do with my relationship with my ex-girlfriend. Every once in a while, you get those flashback memories of conversations you had with your exes, and you just, like, wince when you're walking down the street. Something occurs to you, 'Oh, no, I said that.'
Every comedian comes to a fork in the road where they have to decide if they're going to make jokes about other people or make jokes about themselves. I chose myself.
I got out of school in 2000, and I always wanted to be on 'This American Life,' since I first started telling stories. And that, I mean, that show is a little bit of a fortress. It's really hard to get stuff on that show.
I find my fans are really funny people. Most comedians can't say that about their fans.
Starbucks is the last public space with chairs. It's a shower for homeless people. And it's a place you can write all day. The baristas don't glare at you. They don't even look at you.
Sometimes I'll go to the grocery store and buy a bunch of groceries as though I knew how to cook, which I don't, and as though I was going to be home for the next six days, which I won't.
Everything about starting out in comedy is pride-swallowing, from handing out fliers to bombing in front of audiences.
Directing a movie is a little bit like being back in student government and putting on the homecoming dance. You're like, 'You put up the streamers, and you hire the DJ, and you get the punch bowl.' Some people are just like, 'This dance sucks.' And you're like, 'No no, this dance is awesome!' You have to be really positive.
The ability to workshop in stand-up comedy is incomparable to any art form, in my opinion.
People are making better and better small budge independent films these days.
What I always studied in screenwriting from my mentor John Glavin was that the most interesting characters are characters with shades of gray.
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.
I was a screenwriting major at Georgetown, and I was in class with some really strong writers like Jonathan Nolan, who co-wrote 'The Dark Knight' with Chris, his brother. He wrote 'The Prestige,' the story for 'Memento.'
I've become good friends with Lena Dunham, and the thing I had in common with Lena when I was 24 is I was as ambitious as she was. What we don't have in common is that I was not as talented. My voice was not as clearly defined.
I consider Lena Dunham a comedian.