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I do not speak through my characters; it's not a ventriloquist act.

I think there's a lot of, unfortunately, unfunny ventriloquists out there, so they've got a bad rap. It came after Edgar Bergen because everybody had a little cheeky boy dummy like Charlie McCarthy, and everybody decided to become a ventriloquist because Bergen had popularized it. He brought it back from the doldrums of vaudeville.

People only watch six to eight to 10 channels, so if you want to be one of those channels, then you have to create content so strong that people have to come not once, not twice but enough that, behaviorally, they start to feel like, 'That's my channel.'

I suppose I shouldn't go around admitting I speak untruths on the radio. When I say something untrue on the air, I mean for it to be transparently untrue. I assume people know when I'm just saying something for effect. Or to be funny.

Children are so used to seeing puppets that when they see a real ventriloquist they don't understand it.

I can be accused of trying to be commercial sometimes.

I do laugh when I hear myself saying, 'I am a ventriloquist.' I am definitely suited to it, though. I took it and ran with it quite hungrily. It is not for everyone, but it is just the chance to write for a character.

The thing that's cool about the recording booth is that it's so perfunctory, so cut-to-the-chase.

If you're an open channel when you're onstage, if you're just a vessel, things are going to come out that are stored away deep in your DNA.

People hear that and say I'm being modest, but I am not a modest person, but I have to be truthful about what I'm doing and what I'm doing is channeling.