My comedic instinct, is a little bit more rooted in - my mother's British so I've always been more of the dry receiver of the crazy as opposed to the initiator of the crazy. I'm kind of predisposed to be the straight man.
In stand-up, there's that idea that comedy comes from a dark place, but it's not a rule.
I started off in comedy, but that's just where I got my work. I've always been an actor.
Both my uncles were in bands, my grandpa was a comedian who wore clown makeup on stage.
I was in the Air Force and was a boom operator (in-flight refueling). I got my comedy start in the Air Force.
When I first did theatre, I was always doing comedies; it was always my first love. But it wasn't what I was picked for at first, for films and TV.
I don't think comedy necessarily comes from a dark place. But I do think what a lot of us have in common is that, growing up, being funny was a coping mechanism.
I think that 'Family Guy' and 'The Critic' come from some of the same kind of seed. I don't know what it is.
Well, all comedy starts with anger. You get angry, and its never for a good reason, right? You know its not a good reason. And then you try and work it from there.
As a kid, I always loved Mel Brooks' stuff - 'The 2,000 Year Old Man' record was something my dad put me onto.
Working at the magic shop really gave me a sense of comedy because it was all jokes.
I learned from the guys before me - Bill Cosby, Eddie Murphy, Chris Rock, Richard Pryor, just to name a few. These are guys that let it all hang out. What they lived is what they took to the stage.
'Eagle vs Shark' was about keeping myself sane. I wanted to go back to my comedy roots with people I trusted and had worked with before and do something low-budget and more experimental.
I wasn't one of those kids who stole Richard Pryor records. I wasn't a comedy-nerd kid. I had no concept of stand-up. Actually, the only inkling of stand-up I had was I read one of Paul Reiser's books when I was, like, 12. I found it at a yard sale, and I carried it around with me for six years.
Monty Python crowd; half of them came from Cambridge, and half of them came from Oxford. But, there seems to be this jewel, this sort of two headed tradition of doing comedy, of doing sketches, and that kind of thing.
No matter how big a comedian gets, they're ultimately all just a bunch of nerds with their weird insecurities. You realize these are just the people in high school who were making people laugh.
When I came to Chicago, I didn't even know what improvisation meant, as far as pertaining to comedy. I knew about Second City, but I didn't know what the word 'improvisation' meant.
I got locked into a tradition [at Cambridge] of doing comedy.
Most young comedians would be lying to say that they weren't huge Weird Al fans when they were kids. Weird Al is probably the first person I ever realized had a career that was just making jokes.
I had the humble beginnings. I was doing comedy in laundry mats in 1992, literally where I would bring a little gorilla amp and a lapel mike and just start performing.
Jewish comedy doesn't come out of nothing. Jewish music doesn't come out of nothing... I don't want to be part of a story where Jews are just victims or bullies - and I'm not saying that's what the Israelis are.
I started in improv and went into different kinds of things.
I was about ten when I first got laughs playing Fagin in 'Oliver' at junior school in Offerton. It was the best feeling in the world, and I didn't want it to end.
Well, actually, I did start out in comedies. Very, very early.
I mean, 'Kids In The Hall' is the reason I have any career at all.
