I wasn't obsessed by magic. People say, 'How you can you claim you practiced eight hours a day and weren't obsessed?' Well, people go to a job they don't even like for eight hours a day; it's not obsessive if it's something you like.

Every acting gig isn't the same, every writing job isn't the same, every live performance isn't the same - the challenge is the level of difficulty or ease, and that may vary.

I'm much more interested in lesser-known eccentrics and characters and performers. Like Matthew Buchinger, who was born in Germany in 1674, had no arms or legs and yet did magic, and had 14 kids, and made the most extraordinary calligraphy.

I think the toughest thing about being an actor in a film is to be with a director who doesn't know what they want. And that can be really, really frustrating.

With comedy, you have no place to go but more comedy, so you're never off the hook.

My dad has a certain spirit, a twinkle in his eye, someone who can set a certain standard for players but also convey it with humor. What I learned from him is that coaching is, more than anything, about connecting with people.

You're under the gun at all times because it's live TV. A lot of time, between dress and air, you're having to come with an entire ending to your sketch that gets an even better, bigger laugh - which is terrifying... People are filing into the audience, and you're writing a new joke for the end of it.

It was - I'm very didactic in my lyrics, but I've always been drawn to mock my own emotions, and so I write this very lyric-heavy stuff, which suits theater and comedy much more than it suits pop.