Chicago was where I realized that improv is its own thing, its own art form. And through that, you kind of develop a work ethic of not selling it short.
When you're an actor who just got his first big chunk of change, and you're like, 'What do I do with it?' you try to look at Silicon Valley, and the learning curve is so huge. Especially on the investor side. I don't want to say it's like Vegas, in a sense, but you do kinda roll the dice on some companies. It's like educated dice rolling.
I think when you go in, with film or television, you want to tell this narrative. And with 'Joshy,' you want it to be grounded with moments - it's not like, 'Everyone be as funny as you can, quickly, at all times!' It's not like that. You have to pick the right improvisers.
Game design has always been a secondary passion. I don't know how to program, though, so I'm at this strange crossroads where I'm like, 'I wonder if I can convince people who know what they're doing to hear me out on one of my ideas.'
You can't predict the future, and you've got to go with your gut on these things, and I'm sure if you speak to a laundry list of CEOs and people who have gone through the startup process themselves, they'll say it's an endless hurdle race, and you are inevitably going to catch your legs on hurdles, and it's just how you roll with that.