You get to the end of something, you're laughing, you're like, 'That's funny, and that's funny,' and then you get to the end, and the credits come down, and you're like, 'That's it?! That's the whole thing?! You had me here for that?!' I just don't want to do that.
As a comedian, you want people to like you. That's part of why you're there in the first place: You have this unquenchable need to be liked, and then when you divert from that and take a chance at doing something that has moments of fierce unlikeability, you can hit some real low points.
Directing your first film is like showing up to the field trip in seventh grade, getting on the bus, and making an announcement, 'So today I'm driving the bus.' And everybody's like, 'What?' And you're like, 'I'm gonna drive the bus.' And they're like, 'But you don't know how to drive the bus.'
My first car was, as depicted in 'Sleepwalk with Me,' my mother's '92 Volvo station wagon that had 80,000 miles on it, and I had put 40,000 miles on it, so by the time it retired it had 120,000, and I basically killed it. It served me well, and my mechanic was always very angry with me because I just didn't properly care for it.
I've actually always wanted to write like a one-person show that was sort of a romantic comedy - a show that was kind of cynical about romance and marriage but ultimately embraced it. Because I feel like comedy is always cynical, inherently, because it's contrarian.
I think that my regrets mostly have to do with my relationship with my ex-girlfriend. Every once in a while, you get those flashback memories of conversations you had with your exes, and you just, like, wince when you're walking down the street. Something occurs to you, 'Oh, no, I said that.'
You don't really see sleepwalking in films that often. It's weird; I feel like in popular culture we have the perception of sitcom, arms-in-front-of-your-body sleepwalking, and then maybe Olive Oil and Popeye when she sleepwalks through the construction site. But it's all very cartoonish, in some cases literally.
Starbucks is the last public space with chairs. It's a shower for homeless people. And it's a place you can write all day. The baristas don't glare at you. They don't even look at you.
It sounds so nerdy and pathetic, but what I always do on Sunday afternoon is bring my inbox down to zero, which is so sad. But e-mail has become like homework for adults. I'll have 141 messages from people who will be offended if I don't write back.
Directing a movie is a little bit like being back in student government and putting on the homecoming dance. You're like, 'You put up the streamers, and you hire the DJ, and you get the punch bowl.' Some people are just like, 'This dance sucks.' And you're like, 'No no, this dance is awesome!' You have to be really positive.
Someone said to me at a party once, 'Oh, yeah, you're a comedian? Then how come you're not funny now?' And I just wanted to say, 'Well, I'm just going to take this conversation we're having and then repeat that to strangers, and then that's the joke. You're the joke later.'
