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It's pretty hard to make out what's going to be a commercial success and what's not.

I know a lot of people who have tremendous commercial success and they go directly for it. There's something that has always been difficult about that for me.

I was never writing for commercial success. It's nice that it has come, but it is not important.

I did about 10-12 national commercials and then got one line parts in things like 'Curb Your Enthusiasm' and the show 'The Unit.' Got a little part in the movie 'Redbelt' by David Mamet and kept slowly grinding up and then started getting bigger parts in independents and getting noticed by Liz Meriwether.

I started as a teenager going up on commercials.

I always admire people who do commercials because they have to put together a beginning, a middle, and an end in 30 seconds.

I think it's a very ephemeral thing, what makes a show a success.

And I've always loved commercials. I like working out how to organically weave a brand's message into the writing process. It's like an improv show, where comics ask the audience to throw out a word and a skit is built around it.

I never really think so much about commercial success; I usually just think about records that move me, and 'Baby Got Back' was one that moved me.

I watch TV more than I used to, and the commercials don't impress me. The standard of execution is very high, but the standard of ideas is appalling.