Yeah

... um, I think, uh, I, I, I was thirsty for laughs from the studio audience, and it was, and in some ways, like I, I, I was, after I, I did, you know, Josh, I did the, the year on the sitcom, and I came off of that going, "I shouldn't do these anymore."

Yeah

... and Jason, I, I, I do remember at the time and in retrospect I was reminded, like, I, I was really, uh, I was really kind of amazed at his chops and he's, you know, coming from, uh, like the sitcom background, uh, you know, even during Harold & Kumar, I was like, "I gotta, I think I'm still listening for the studio audience," you know-

Yeah

... um, I, I think, uh, I, I, I was thirsty for laughs from the studio audience, and it was...

And in some ways, like, I, I, I was, after I, I did, you know, Josh, I did the, the year on the sitcom, and I came off of that going, "I shouldn't do these anymore."

Yeah

... being, being busted up by the laughs.

And that's the thing about the studio audience too.

It's like you, you want the laughs, and it feels great to get a laugh, and then you do, on the third take, they go, "Oh, that, that, that didn't get as much of a laugh.

We should, we should rewrite the joke." And then-

Was Kogonada awesome to work with?

Yes, yes.

Um, uh, just as an example, I th- I remember doing one scene with, uh, uh, Parker Posey.

It was a very difficult scene.

The text was difficult.

There were so many...

Oh, it was one of those where, like, you're never saying the thing you wanna say for each line.

Right.