Every couple of years we witness an exodus of up-and-coming Chicago comedians heading for the coast(s). When did you decide that relocating to NYC was the best move?

Thank you, Paul! Keep them coming, guys! Seriously, where are all the improv nerds? I know you have questions.

Improvisers are too busy making flyers for their new four person team at their temp job to do this.

1. What is one the best moments you've had onstage?
2. Do you want to marry me.

Now that the UCB is becoming somewhat of an institution, what with the theatres, training centers, and the upcoming (already existing?) DVD label- has the UCB thought of any other arenas they'd like to enter? Perhaps a production company...or a theme park?

How many gorillas is the right amount of gorillas to have in your sketch, burlesque, talent, or tango-related show? And is the use of gorilla as a comedy stand-by considered an emergent or resurgent trend? Is this more or fewer gorillas than when UCB was doing street event work?

Do you drop Charna Halpern's name as much as she drops yours?

Rumor has it that when you walk into the UCB Theater in NYC, you take all the performer photos off the wall, then watch the shows and cross off the faces of those you don't want performing on your stage. Do you REALLY do that?

as both IO and UCB have become large corporate institutions that teach their own form of "Harold" do you feel the artistic risk has been taken out of the form in order to comply with a "go by the syllabus" style of performing to make it easier for students. Do you feel the gimmicks (style gimmicks,"character based" improv, pure gameplay etc.) are a positive or negative in the evolution of the form. Do you think it has evolved?

In regards to the development of game as an approach to scene-work versus organic development of a scene from the environment, do you find that there is an over-emphasis in some cases to finding the game of a scene to the detriment of the reality of the characters? At what point do you leave being in character to playing a scene as the actor playing a game? And while those with a lot of experience can avoid those pitfalls, do you sometimes think game is taught too readily by those who don't also ground their work properly?

Can you recommend a book or artistic movement outside of the realm of traditional improv/comedic theory?

What gets you excited these days and makes you think "*this* is worth watching!"

Matt, what does this have to do with Robocop?

Why them do that?

Who are you again?