I like when people are very passionate about what they want to write about. Even if it's silly, you can be very passionate about it.

You have to write a lot of scripts to get any scripts that are worth making.

I loved the idea that I could write a joke and someone else would have to take the risk of performing it.

I wrote on the Grammys, and a few times for Garry Shandling when he was hosting. I couldn't have enjoyed those gigs more, because I would get to collaborate and try to make people I looked up to laugh, but for the most part, when you're as talented as they are, what they really want is someone who can type fast and whose presence makes them feel in the mood to write and spew and be creative, and I was a good person to have in the room.

[My] dream writers room: "'Taxi.' I need to write for someone named Judd."

I'm getting older, so how people face grave circumstances is of interest to me. And you meet a lot of people who are very courageous, and it doesn't reek of something funny to write about, but I always think that the higher the stakes, the bigger the laughs can be, and the more emotional the scenes can be.

I'm the guy who gets uncomfortable. That's why I was able to write 'The 40-Year-Old Virgin' and 'Knocked Up.' I believe in those guys.

I just try to be true to myself and write about things I'm passionate about. I think what most people don't like about movies is they can tell that most movies are a product, and they don't mean that much to the people who make them.

I put on a big show when I write something I think is funny.