I'm very good at streamlining a series of activities so that everything gets done in the amount of time that I have. I am very good with the clock. Like if I have a lot of stuff to do and a limited amount of time, I'm very good at figuring it all out. I'm very efficient in everything that i do, I never waste time so that I have more time to waste.

We worked to death. Y'know? That's what Larry and I did. We did not rest, we did not... spare an ounce of effort; we would just order people out of the room: "Get out! Get out! We're working!" Y'know? And we-- And that's why those scripts were as good as they were: 'cause when they got to that table, and those actors got 'em, they were worked. So: is that luck? I don't think so. That wasn't luck. That was-- We earned that.

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It really is funny, it's very easy for me to remember that [Seinfeld] was very unsuccessful for a number of years, the first 4 years, and I remember thinking "I don't know why people don't seem to like this, it seems so funny to me." But I never thought it was going to be a big success. But it worked out.

"The most annoying thing about the couple of times that I worked in office is that when you show up in the morning you say "hi" to everyone and then for some reason, you have to continue to greet these people all day every time you see them."

The beautiful thing that Michael discovered-- and I don't know at what point it was; maybe it was the second year [of Seinfeld]: he was playing Kramer a little slower than the other three characters, a little dumber. And then, he got the idea that he should play it that everyone else is dumber than him. And that was the key to it. Once he got that: then, the character just took off!

The specific element that occurs in every single successful joke is surprise. Surprise. A line of logic is going one way, and then, it doesn't. I call it "making non-sense". You go "That doesn't make any sense, but I get it." That-- That's the words that people use to describe a joke: "I got it."

The whole supermarket itself is designed to break down your sense of having any life outside the supermarket. It's like a casino: there's no clocks, no windows, no easily-accessible exits. You ever not buy anything in the supermarket and try to get out of there? It's impossible. There's no way out.

The real concept of [Comedians in Cars Getting Coffee] is: being a comedian is two things. One is: there's a show you do at night, for an audience, that you get paid for; but most of your life is hanging out during the day with other comedians, waiting for night... to do your show! [...] So, you have your set, but then, you hang out with these other people that are like yourself: they're a little socially awkward; they have this comedic aspect of their brain that they cannot turn off... and have difficulty having normal conversations with people, because we just want to say foul, obnoxious, hilarious things to make each other laugh. So, I thought "What if I tried to show people this side of the comedian life?"