In the summer of 2000, four college friends and I grew mustaches, bought highway patrol uniforms, and shot a $1.2 million budgeted independent film called 'Super Troopers.'

I have used the name Jambulingam while editing films such as 'Super Troopers' and 'Puddle Cruiser.' I like the look and sound of it.

I have always enjoyed outlaw films such as 'Smokey and the Bandit.'

People always ask us, 'Hey, is there going to be a 'Beerfest 2'?' I don't know if I have another beer joke in me.

We can't make movies without scripts, and there's no cost to writing a script, so my advice to newcomers is do it yourself: Write your own script, shoot your shorts, edit your shorts.

The first thing I do in the editing room is the 'radio edit,' where you listen to the dialogue and don't even look at the visuals. The rhythm, the music of the comedy, has to work.

With 'Puddle Cruiser,' the first 15 minutes are the weakest. When you're total unknowns and you have a weak opening, it's a real problem. At some screenings, we'd see the odd walkout before the movie even got going. But to counteract that, we'd do sketches before the show to introduce the film.

I have always felt a comedy's story is undercut if you have a villain who is not really menacing.

We see and hear about Israelis and Palestinians only when they are defined by the global media as 'occupiers,' 'terrorists,' and 'victims.' But we forget that they are fathers and mothers and sons and daughters and neighbors and doctors and shop-owners and farmers and students.

I found that looking at the Israeli/Palestinian conflict from an outside vantage point was actually quite distancing. The history of the conflict, the personalities, the violence, the distrust, and the seeming lack of viable solutions made meaningful involvement feel impossible. What changed that, for me, was changing the vantage point.

Many people don't know our famous 'soup kitchen' episode on Seinfeld was inspired by an actual soup restaurant off 8th Avenue in New York.

Do you want to have a career that goes beyond, you know, 11 minutes in a 22-minute television show every week? Some people don't. That's fine.

Television, in particular, doesn't look for talent; it looks for personas. You have a great persona? You can be a TV star.

Really, the golden egg of doing a series is that you cross that very stupid bridge that says 'Name Actors Only' in casting sessions. All of a sudden, you become a name actor; it gives you marquee value. That's all that a series does.

You need to find the size of performance that's appropriate to the material, appropriate to the shot, or appropriate to the scene.

I am hard-core middle class.

Boston was a great town to go to college in. Maybe that's why there's so many colleges there. I love the town, and I loved Boston University.

I went into performing for the community. Being backstage with your company of fellows is the best part of working in live theater. That energy, that combined focus, the synergy - it's addictive.

Most stand-up comics relish performing 'in one' - solo. They like the autonomy.

The downside of being a celebrity is that people kind of know about you, and you really don't need them to know about you - you need them to know about your work.

I have always wanted to play Sweeney in 'Sweeney Todd.'

It's a question of finding the right thing, if I'm going to be an actor... if I have to get up eight times a week for a number of months, I want to be excited and challenged from the day I start to the day I leave.

Theater is very much the world I'd like to get back to, particularly in New York, both as an actor and director.

In New York, the theater is a destination point. In Los Angeles, no matter how provocative, how successful, how star-studded the theater event may be, it is, at best, a second-class citizen.