Quotes from Nick Kroll

When you start as an actor, you can only hope you'll be able to act at all - let alone on a show that lasts seven seasons.

Anyone you give a ton of money to is going to go slightly crazy. I don't think comedians are particularly special in that regard; they just are better or more vocal in their expressions of their craziness.

I can't play video games or games on my phone because I'll go into a deep vortex, and no one will hear from me for weeks.

I usually need to read emails to actually wake up. I'll read these and Twitter, and my brain will start to get going about what a narcissistic monster I am. I read on Twitter who is talking about me. I'll also start making jokes for the day based on what I read on Twitter.

I've decided to just keep doing Oh, Hello, where I play an older man who thinks he's very cultured. That clearly has not gone away.

Really, more than anything, The 2000 Year Old Man is a huge influence on all of our comedy, but specifically the live version of Oh, Hello.

I find Spike Jones' movies to be really very inventive and funny, but they're really sad and touching and really key into the different facets of the human experience.

It's always weird to eat something that is a pet elsewhere.

Comedy can't be done in a vacuum, and you can't do it on your own. So if you have a community of people, it's a great symbiotic relationship.

When I was a kid, I would do Andrew Dice Clay jokes for my siblings. Like, we'd be on vacation, and I'd just recite Andrew Dice Clay jokes. They seemed to think that was pretty funny. Then it evolved into 'Wayne's World.'

In, like, seventh or eighth grade every day after school, my friend Andrew and I would watch 'Wayne's World.' And I think it's a great example of a sketch effectively turned into a movie and a story that really works with a good journey. Not easily accomplished, but such a good journey.

I got my SAG card doing commercials.

I'm proud of the work that we did, and my hope is that everyone who worked on 'Kroll Show,' it will be a credit that people will be like, 'Oh, you worked on that show? The word on that show was that it was good.'

I started doing improv in college, and I met Mike Birbiglia and John Mulaney and a bunch of other very funny, talented people who I'm still friends with and work with.

Like most lazy upper-middle-class kids, American Studies seemed like a fun way to use your knowledge of TV to get an A.

I was never a western guy, but I happened upon 'Tombstone' one day on TV and was really sort of taken with it. It's one of those movies that, if it's on TV, I can't turn it off. I just have to watch the whole thing.

I came to New York and started doing stand-up and improv, and started auditioning for commercials and voiceovers and stuff. My first job was on a pilot of that prank show called 'Boiling Points' on MTV.

Doing radio commercials was how I was really able to leave my day job.

Part of making art is learning how you make it best. I'm not great at sitting down at a desk and writing for three hours. I write best verbally, talking through an idea with people, so I do my best work when I collaborate.

Contrary to widespread belief, I do know something about science.

Whether it's corporate investigations or comedy, there are certain inherent truths to trying to get what you want while trying to be a decent person doing it.

There's just a feeling, when you're just an actor - I have great admiration for people who are just actors. I don't understand it, the idea of waiting to get cast, being at the whim of others. I find it incredibly powerless and frightening, so that's why I've been constantly trying to create my own content.

My thinking is, if we're setting out to make comedy in which nothing is off limits, then everybody is fair game.

When you start out, it sometimes feels like you're fighting audiences every night just to prove that you're funny.