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If the gag is complicated, you spend more time thinking about the way you're drawing it.

If you start to disrespect the character you're playing, or play it too much for laughs, that can work for a sketch, it will sell some gags, but it's all technique. It's like watching a juggler - you can be impressed by it, but it's not going to touch you in any way.

In the end, everything is a gag.

Sight gags had to be planned; they required timing and mechanics. Occasionally, spontaneity would arise in the shooting of the scenes.

I'm never happier when writing than when I see gags taking shape - ideally, gags at my own expense. What I like is the shuttling back and forth, serious into comedy and vice-versa, ideally, both in the same sentence, or even simultaneously. The best jokes are always ideas in miniature.

Sketches have characters, exits, entrances and are vastly different.

If you can understand the humor in the drawing part you'll probably get the humor in the audio part.

When I do a mask, I do try to put a lot of character and a lot of expression into the sculpt.

I do not favor the gag order.

We did have a script, but it didn't consist of the routines and gags. It outlined the basic story idea and just a plan for us to follow. But when it came to each scene, we and the gagmen would work out ideas.