I like doing the mainstream, right-down-the-pike broad comedies as much as I like doing the kind of unorthodox different stuff.
I feel like it's a dangerous and dark world if 'Sunny' becomes mainstream comedy. If you were to turn on CBS at 8 o'clock on Thursday and see an episode of 'It's Always Sunny In Philadelphia,' I don't know if I want to live in that world.
'S.N.L.' is the comedy establishment. Of course you want to go through that, because you want that stamp of approval. But it has its own identity, and our voices didn't mesh for whatever reason - or they decided we didn't belong.
Many hundred-million-dollar Hollywood comedies aren't any good. They're trying to shock you.
The Monkees was a straight sitcom, we used the same plots that were on the other situation comedies at the time. So the music wasn't threatening, we weren't threatening.
I'm such a fan of Lily's [Tomlin], for so many years. I feel like Lily was the first popular mainstream crossover comedian who also was kind of an overtly feminist comedian.
It's not unexpected for me to be in a comedy film anymore; I'm no longer the underdog in that world.
Don't get me wrong, I'm under no illusions, I've got a very old-school, mainstream leaning to the way I present my comedy because I actually like jokes and don't just do observational stuff.
There's the exciting part about comedy - if you catch an act just before they go mainstream, that's the best. After they hit the mainstream, everything gets watered down a little bit.
It's that I wasn't suited to do the kind of comedy that these people were coming to hear - mainstream comedy.
It's funny how comedy is, you look at people like French and Saunders, when they started out they were very alternative. A lot of those alternative comedians have ended up being mainstream, they know that longevity is about being mainstream.
