“The audience is not your boss. They are your collaborators and when you collaborate with someone you don’t have to listen to everything they think or say.”

Anyone who buys a ticket can just go in there, and I don’t like everyone, so I always see concerts as like, I’m going to get punched, I’m going to get elbowed, I’m going to get stepped on, get spilled on, someone’s going to hit me with their body odor or something.

I think Batman Returns is right for riffs. I love it but it’s the ultimate Tim Burton movie. There is so much that happens that’s crazy and there are a ton of things to riff.

I just got diagnosed with tendonitis which is such an insulting diagnosis. Just point to my shoulder and say “old.”

Every laugh is not equal. They come from different places. That’s sort of the challenge I go towards, making sure the laughs are for the reasons I want. It becomes a back and forth dance with the audience.

Sometimes I have young comics that ask me, “What should I do when I meet an agent or a manager and they ask me stuff?” And I say, “Well, they always usually ask, ‘Where do you see yourself in five years, 10 years, 15 years?’ And it’s good to have an answer for that.”

If you’re driving down the street, you keep the neck forward. So that way you can clear out the lanes.

Netflix is very protective with their information .

The audience is your first collaborator with the material. If that makes sense.

I am afraid of abandonment, and, if you will, in a really existential way, being exposed as a fraud. Everyone’s afraid of it, and I definitely am. This is a fear that motivates. Oh, and heights. And getting stabbed.

You can fit two United States and maybe a third one into the entire continent of Africa, but on a map we make the entire continent of Africa look like the size of the United States, which is why a lot of people don’t know that Africa is a continent. They think it’s a country because it looks as big as we do.

I read recently that I was born in Arizona. I wasn’t born in Arizona. I was born in New Mexico, but I can understand why people might confuse those two Southwestern desert states.

The album [Blaxistential crisis] artwork is by a friend of mine who is a brilliant artist named Sara Pocock. We’ve been friends for a couple of years and she worked with me on the animation. I believe she’s still working over at BuzzFeed.

I was processing a lot of different things and kind of looking over a lot of things and rethinking my childhood.

One time I was really close to Steve Martin. I was too afraid to actually go talk to him, but I’ll count that as meeting.

When you’re a young comedian the first thing you want to do is get a laugh.

I’m working with a lot of legends who are brilliant who are people I’ve looked up to from a very young age.

The life of a rock & roll band will last as long as you can look down into the audience and see yourself.

Of course I talk to myself. I like a good speaker, and I appreciate an intelligent audience.

The way a dancer can bring the crowd to its feet with a drawn-out, well-executed pirouette is the excitement I wanted to capture with this design.

We are the witnesses to the miracle. We are put here by creation, by God….We’re here to be the audience to the magnificent. It is our job to celebrate.

In the great drama of existence we are audience and actors at the same time.

The art of any propagandist and agitator consists in his ability to find the best means of influencing any given audience, by presenting a definite truth, in such a way as to make it most convincing, most easy to digest, most graphic, and most strongly impressive.

Every time I reach a new audience, that means I’m doing something right.

If it’s a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on.