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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.

Comedy clubs can be brutal. Those people are for real, and if you aren't funny, they aren't laughing. They don't care who you are.

A comedy club is a place where you work out material, you're trying material.

The comedians all finished their acts with a song. They would get a certain amount of money from the song publishers and would use that money to pay the writers. None of them paid very much for their comedy material, but it all added up.

Every time I've done comedy in, like, traditional comedy clubs, there's always these comedians that do really well with audiences but that the other comedians hate because they're just, you know, doing kind of cheap stuff like dancing around or doing, like, very kind of base sex humor a lot, and stuff like that.

Comedians do movies and TV so that when they tour, they sell out. That's the goal: To get popular enough so the place is packed.

The Comedy Bar is an intimate club, which I prefer. I refuse to play theatres, because large empty spaces make me nervous, and I don't enjoy the echo. I'm no sell out. Literally.

Anyone you give a ton of money to is going to go slightly crazy. I don't think comedians are particularly special in that regard; they just are better or more vocal in their expressions of their craziness.

Some writers take to drink, others take to audiences.

Comedies are just never that expensive quite frankly. They really aren't. We aren't doing green screen shooting, so even Hangover II in Bangkok might seem like it's expensive, you're flying over and back, but they're just not that expensive to make when you do it the way we do it which is very focused and I've done it before.