Film is so immersive.
I have a following, but it's small. I have this level of fame where people spot me in the airport, consistently, but they always think they're the only one who ever has. People will think they win a prize when they recognize me.
Everything about starting out in comedy is pride-swallowing, from handing out fliers to bombing in front of audiences.
The way I view comedy clubs is, people are drinking, they're ordering food, they're out for the night, and there's also a person onstage talking. And with the theater, they came to the theater, and they're waiting to hear what you say. So you'd better have something to say.
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 always have the best story at the party. Anyone telling a story at a party is like, 'No, no, you've got to listen to my story!' I'm like, 'Step aside, everybody. I'm going to blow the doors off this place.'
I just don't give off a great first impression.
I've actually always wanted to write like a one-person show that was sort of a romantic comedy - a show that was kind of cynical about romance and marriage but ultimately embraced it. Because I feel like comedy is always cynical, inherently, because it's contrarian.
After I perform 'My Girlfriend's Boyfriend,' it takes a lot out of me emotionally; and, at the end of it, I feel like I know the audience and the audience knows me. It's this weird unspoken bond that we'll kind of always have with each other.
It sounds so nerdy and pathetic, but what I always do on Sunday afternoon is bring my inbox down to zero, which is so sad. But e-mail has become like homework for adults. I'll have 141 messages from people who will be offended if I don't write back.
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.