I went to Catholic school growing up. I can barely remember any prayers or anything!

And then 'Wanderlust,' Ken Marino and David Wain wrote the funniest - they're amazing. That was one of my most favorite creative experiences; we're all up at that commune, a small group of people. Everyone was funnier than the next. It was an amazing ensemble feeling. Everyone gave and took in the best way.

There was something about the Cleveland Play House that was the holiest place - you know, with the ghost light on the stage and the brick. It was just the most beautiful theater in the world.

I loved doing 'Bad Moms.' I loved doing 'We're the Millers.' But now that I've tasted complexity, it doesn't matter what the genre is - it would be really hard to go back.

My father was a man who didn't consider himself learned. He was a man who liked to be a farmer. He enjoyed his dairy farm and felt the calling. So there was a dedication. I was dedicated as a child to the service of God, and so there was this continual centering of a greater purpose than your own.

I'd gotten the message in my home, starting with my grandfather, that real work, the kind that makes you sweat and gets your hands dirty, is a respectable, necessary thing. But I wanted to write - and writing didn't qualify. Whenever I told my parents I dreamed of becoming a writer, they said, 'Great, but what are you going to do for work?'

I have a nice family and I'm well rounded.

Because I have a dog, it's easier to work at home: I sit in a horrible weird 'Mastermind'-style chair and bask in my own mediocrity. Being single, I've no family life to distract me at the end of the day. Apart from taking the dog for a walk, I have no other responsibilities.