I remember I did the movie 'Eulogy,' and there was a dramatic moment in it. It was pretty heavy, and I went for it. It was... I didn't feel that comfortable doing it.

Right after 'Raymond' I had a world-is-my-oyster attitude, but I found out I don't like oysters. I had this existential emptiness. 'What is my purpose? Who am I?' I had a big identity crisis.

People are going to see both of us and think it's an Abbott and Costello kind of thing. It's not an easy switch. It's not an easy transition from TV to film.

I want to do well and I want to fit in.

I'm from New York.

I'm a little different from the average dude because I'm on high-def TV now.

Each day it's like: 'How many more days am I going to feel young and vibrant? I feel young and vibrant now, but I also feel the aches and pains a little bit.

My favorite band - and Bobby Cannavale and Terry Winter have already made fun of me for this - is Chicago.

I have some classes in accounting, but I don't know anything about accounting. I - you know, when my accountant tells me all the things he does, it's a foreign language to me.

When you go to standup, there seems to be a common denominator of some form of need or want for validation from the audience that maybe you were lacking as a kid.

I don't want to be a spokesman for family values, but that's the way my standup is perceived.

Doris Roberts had an energy and a spirit that amazed me. She never stopped. Whether working professionally or with her many charities or just nurturing and mentoring a green young comic trying to make it as an actor, she did everything with such a grand love for life and people, and I will miss her dearly.

I still feel like an immature idiot inside, but I look in the mirror and - as a friend of mine once said- this old guy keeps getting in the way.

If golf wasn't enjoyable and there wasn't a lot of humor and enjoyment, even though the game is so frustrating, you would wonder why you put yourself through it.

Every backstory involves my father. I remember hearing Gary Oldman talking about backstories and saying, 'I got to stop using my father...' And I feel the same way. I don't know. What I come up with always involves some element of this son trying to prove himself to his father.

When I started out, Jay Leno used to say you're not as good as you think you can be until at least your sixth year. I was like, what the hell is he talking about? 'Cause I was in my third year, and I thought, 'I got this.' I kept videos of myself performing, and in my fifth year I watched my third year and realized he couldn't have been more right.

I like a good cry - it's cathartic; it's a release. But I've never been able to be so free to do that on camera the way some actors can.

I don't get sick.

I'm aging, and the world is seeing it.

You're only as good as your last joke, your last show, your last whatever. The confidence is there, but underneath, there is always insecurity.

I like doing film, you know, single-camera.

I still do standup.

I love standup and I haven't given it up.

I just go to work, come home. And my wife lets me throw my clothes on the floor, and she doesn't say anything, so I must be making some money.

I think that as actors age, the work becomes more organic to them.

The best comedy, I feel, comes in a drama because it balances each other out.

I would get my student loans, get money, register and never really go. It was a system I thought would somehow pan out.

If I'm really considering doing film from now on then that is the smart thing to do, or you can go either way. You can just do the same character over and over again and make a different comedy like over and over again.

I have the show because I'm insecure. It's my insecurity that makes me want to be a comic, that makes me need the audience.

You don't want to shock them and do something totally opposite, but you also want to play a different character.

It seems to be a common denominator with a lot of comics, this low self-esteem thing.

It's my insecurity that makes me want to be a comic, that makes me need the audience.

I've always wondered, what am I going to do that's important with these stupid jokes that I tell.

I live in L.A. Now.

I have this mistress: show business.

I just don't want to play the same guy again over and over.

I lived at home till I was 29.

I don't want to say work is who I am, but some people feel more centered and more whole when they're producing and creating.

I don't think men talk as much as women, but when we have something on our minds we'll get it out.

The only thing I miss from the sitcom format is that immediate gratification of when you're, if we're talking about comedy, of the live audience.

Well, I'm a 14 handicap. Anyone who golfs knows what that means.

I still got my hair, I'm not fat.

You meet someone, you care for them, and you fall in love; it's what it is.

I was looking for something to make me happy, and once I realised what I actually had, then I found success.

I can do an OK manicure, but I need to stick to singing.

We have two older brothers and two younger sisters; Sam and I are in the middle, and I've always felt protective and closest to him.

I'm not on the stage going, 'Look at me! I'm amazing!' I accept my vulnerability, don't pretend I'm something I'm not. I don't want to come across as fake.

It's sad really, I think 'Freedom' would've done better, but it got shelved because of the pregnancy, so it might be something that might get revisited in the future; who knows?

I'm quite good at knowing, 'This isn't right for me,' or, 'That person will be really good at singing that.'

I think that's what I love about jazz is that you can do what you want, and you're allowed to mess up.