Your relationship with an agent has got to be mutually beneficial. If you can't help their careers, then they're not going to be interested.
Here's the rule that I set for myself, and I believe it - even on a show like 'Curb Your Enthusiasm': the more personal you are, the wider your audience.
I rewrote it and I took all your notes. Read it again, that kind of persistence paid off.
When I talk to Steve Martin, he's joyful when he talks about comedy.
The interesting thing about improvisation is you're making something up in front of the audience. Now music helps you out a little bit because you have an instrument that'll separate you from the audience.
My influences were Woody Allen and Lenny Bruce.
The thing about stand-ups is you can't really get good unless you're failing in front of a large number of people. That makes stand-up comedy unique: you need a tremendous amount of reserve within you to take the rejection from the audience, and without it, you can't do anything.
Being a lawyer in New York sucks because you're working eighty, sometimes a hundred hours a week.
I starred in a Broadway play that was Sidney Poitier's first directing job and the cast was Lou Gossett, Cicely Tyson, Diana Ladd and I played a Jewish kid who offered himself as a slave to two Columbia University students as reparations.
Silences are the most underrated part of comedy.
My father was a rabbi and had a little synagogue in Canada, so I'm from Canada. I left there at 16.
Great Canadian comics are often outsiders and insiders at the same time. That's a great perspective for a comedian.
The whole idea of doing the Hollywood thing never even occurred to me. When you grow up on the East coast, Hollywood seems like this fantasy land and you don't think that people can actually make a living there.
We were the guys on the other side. It was hilarious.
And it was a huge emotional thing to leave the law and become unemployed - to be a student again.
I started writing this feature comedy in New York - a Chris Farley vehicle. The script was decent. When I got to LA, I met some new friends in film school and had them read my script and give me notes.
I used to have a theory actually that, if you've had a good childhood, a good marriage and a little bit of money in the bank, you're going to make a lousy comedian.
You don't need to be stable to be a stand-up comedian.
When I started, you didn't make a lot of money by being a comedian. You didn't get a lot of respect.
A spontaneous interview feels differently than anything else you see on television.
