In 2006 or something, I was recording the voices for this short, 'The Real Animated Adventures of Doc and Mharti.' I was having fun doing these really crappy Doc Brown and Marty McFly impressions. During the middle of a line, a burp came out naturally. It was just so funny and gross.

The biggest thing you can do in VR that you can't really do in non-VR games is a huge focus on exploration and interaction.

I had a job on a Spike TV show called 'Fresh Baked Video Games.' I was the animation producer/kind of a writer, but I couldn't get anything through.

The goal for us to do with Squanchtendo is to approach all of our projects with a goal of adding interesting characters, personality, and a story to interact with in-game. Every game we make will be built from the ground up for whatever hardware it will launch on.

One question about a joke is, how well is the strangeness of the situation resolved? At 'The New Yorker', we retain a lot of incongruity, tapping the playful part of the mind - Monty Python-type stuff. We also try to use humor as a vehicle for communicating ideas. Not editorial comment, but observation.

I always had to genuinely like the actors I worked with and use my enthusiasm and vision to give them confidence to push their creativity and their humor.

It just seems like the most successful, iconic love stories are not so easy or escapist. I think the ones that stay with us and resonate are full of conflict, discord and misunderstandings 'cause that's what makes drama happen or tension even if it's a comedy.

I feel more comfortable in drama. Comedy is a high-wire act. I find it stressful. It's a precision science in a way.