When you go to auditions, pretend you already have the job and you're just presenting - almost like you're at the table read. Don't go in with an air of, 'Please like me,' or, 'Please hire me.' You're like, 'Here's my take on it. Take it or leave it. I've got a lot of other things to do today.'

My stand-up has always been very character-based. I'm not really the kind of person that's like, 'Hey, here's what's on my mind! Tip your waitress!' I would create the jokes based on the character I was playing. It was always a performance-based thing for me.

The really cool challenge of '24' was learning on camera how to be a dramatic actress. The biggest difficulty was the industry side of things. I was very lucky that I had Joel Surnow, one of the creators of '24,' in my corner. Early on, the Fox executives couldn't believe that I was on the show.

I had fun doing a lot of low-budget movies and web series. And I got back into stand-up where I started.

Comedy is really not like any other art form in that it's very specialized and varied in it's content, but generic in it's title.

Comedy isn't necessarily all dialogue. Think of Buster Keaton: the poker face and all this chaos going on all around him. Sometimes it's a question of timing, of the proper rhythm.

Reilly Brown is a master of balancing action, humor, and extreme violence, and his character designs for some of the alien races and technology that we encounter is just amazing.

I was in the play 'Fat Pig in the West End,' which is a comedy but has dramatic moments.