I think that Broken Lizard movies typically have to be able to star five guys, so it's like, policemen, spacemen, a basketball team.

'Spinal Tap' influenced me, I think, specifically in making me really pay attention to tone.

A lot of comedy films, there's the opinion, 'Well, if it's funny, put it in.' But I think you have to be more disciplined than that.

What makes Broken Lizard, I think, is our timing.

I remember walking into the editing room when I was a junior in college, and I watched the guy make cuts, and I didn't know what the hell was going on. He was just putting these shots together and telling the story, and it was amazing.

What I do when I act and direct is I do a small version, go a little bigger, do a medium one, an over-the-top one, and then even bigger than that. I'll do six readings of the line. And they're not all the same. Just so I know if I was wrong about what I should have done, I luckily have this more subtle version.

In 2010, The Princeton Review ranked Colgate the most beautiful campus in America - I agree.

There was a Burger King in Hamilton, N.Y., where Colgate is, that had three sizes: Small, Medium, and Liter. I would go in there and order a large. And they'd say, 'We don't have large; we have liters.' So they'd make us order liters of cola, which I found to be just anti-American.

Showbiz works well when you give the audience what they want.

I've been watching a lot of cable shows like 'The Wire' and 'Breaking Bad' and 'Downton Abbey.' I love how real the moments are.

I've come to the realization that you can entertain people both through making them laugh and making them feel. You can be quiet, and they can feel, and you will have scored as well.

I think romantic comedies in general are marketed towards women, and I think men are half the romance, so why not have some that are truly from a male point of view.

If I had to be in the Olympics, I suppose I would do the javelin throw.

I've never thrown a javelin. What kind of sport is that? It's hilarious.

I always feel like any criminal who doesn't have a mask on is dumb: particularly the ones who don't realize that all mini-marts have cameras. I find that so hilarious. Or bank robbers without a mask. You're like, 'Have you seen no movies?'

As funny as we thought our script might have been, 'Super Troopers,' starring five nobodies, didn't fit the model of a good financial bet.

Integrity matters. What our fans think matters.

Many films you see in theaters are financed through outside sources. With big films, the studio will pay, hoping to reap the reward of their big bet. But with medium and small-sized films, outside production companies and financiers often foot the bill.

If you're not doing something or saying something in comedy, the camera is going to go somewhere else.

Look at the opening sequence of 'The Blues Brothers,' which starts at the prison. The way it was filmed, it does not look like a comedy. I thought that was great.

The smartest thing a filmmaker can do is to become a good editor.

Filmmaking, at the end of the day, is really - in addition to the story and all of the equipment and the actors, it's really about time management. And so the smartest filmmakers are the ones who sort of pre-visualize the film in their head and are literally shooting the shots they need to cut the story together.

Violence is totally accepted in this country.

Every time you jump to another format in the 'picture business,' meaning film, television, commercials, the people in the other format go, 'Ah, yeah, you made a lot of features, but you don't know how to do TV' or the commercial people go, 'Oh, you can't do 30 seconds.'

When Broken Lizard writes a movie, we reject everything that doesn't have five guys as leads, so it needs to be cops or a basketball team; that's what we can do.

I was pre-med for a semester, and then I got a C- in organic chemistry and was washed out of that program. Then I imagined I'd be a lawyer. I was gonna go to law school.

I started standup at age nineteen. I decided that the only way I was going to try show business as a career was if I could make total strangers laugh.

I did a lot of standup from ages 19 to 24 but then stopped to focus on sketch with Broken Lizard.

Growing up, I was the only Indian kid around for miles, so I ached to belong. I had a neighborhood pack of nine guys and two girls, and we hung out all the time. We played football, baseball, and broom-hockey on the iced-up lake.

Our fans often tell us that they see themselves in us. The relationship between the guys in Broken Lizard rings a bell with them, because they have their own little friend groups, with their own complex dynamics, and their own private jokes.

If a joke makes our tribe laugh, we assume it will make other friend-tribes laugh.

The reality of show business - and I suppose a lot of businesses, but specifically show business - is that it is this business of 'no's.' It's mostly 'no's.'

A lot of the original people on 'SNL' came through Chicago - and Toronto, I'm sure - but Chicago was the center of it all. When I was there, Chris Farley - I knew him; we hung out and stuff - he went off to 'Saturday Night Live,' it was like, 'It's possible to be from here and make it.'

I think there's a pedigree that comes with being from Chicago that gives you some cache outside of L.A. and New York, where, frankly, most of show business really is.

A lot of filmmaking is just sort of slowed down by lawyers who feel they're more important than the filmmakers.

I'm from Chicago. And I was an actor in high school and college, and I wanted to see if I could make a run of it in this job. So, I went downtown in Chicago, and I went up on a stand-up stage and did an open mic. It went well, so I'm like, 'Alright, I'll give it another try.'

We hoped to get a TV show, and we almost did, but 'The State' beat us out for this MTV show. So because they were there, and 'SNL' and 'Kids in the Hall' were there, we thought, 'Let's go try to do what Python did, and instead, let's make movies.'

My father and mother were both doctors, yes.

We only ever write jokes that amuse us.

The thing about our movies is, we write thirty drafts. That's a very detailed script. Which means that if you try to crank it out week to week in television, it's impossible.

All I can do is keep my nose down and shoot the scene, shoot the scene, make it funny, make it funny, make it funny.

The funny thing about any cop uniform is that people will do what you say when you're wearing a cop uniform.

Making an independent film is so great because you're your boss. And you have to be disciplined. You know? Because there's nobody telling you anything. But you have to kinda, you know, if you have an instinct to do something, you do it. There's nobody to run it by.

Making films requires the creative skills you'd expect, but it also demands immense non-creative skills, like the ability to raise all that money and the savviness to work the studio's politics.

This career is a relentless hustle because Hollywood is crowded with too many smart, talented people pursuing the same dream and the same pool of entertainment investment dollars. And unlike in law or medicine, there are no college degrees required - no barriers to entry.

If you want to provide for your family, maybe show business is not a high degree of success. You will need to keep your day job until you make it, and know it's an odds thing just like the NFL. I personally wouldn't recommend anybody to go into this business.

'Spinal Tap' is interesting because it created a genre of film and ended it - all in one motion. If you do a mockumentary, you are always going to be compared with that film, and you are never going to be as funny.

When I started, there were no Indians on television or films, except for Sir Ben Kingsley. I was an actor in high school, college, and I played leads. And when I graduated, I knew that I couldn't go to Hollywood and audition for shows or films. I could try, but where was the evidence that it was going to happen?

The reality about shooting films is that you can shoot many jokes and decide later which one works. So it's not worth fighting about jokes.

It takes a year for us to generate a script that is ready to shoot. There are maybe 20 drafts of a script. And, each time, someone saying 'I don't really love this,' we discuss it for 15 minutes.