You really have to bring your game and know what you want to do. And then, there are the producers and the writers and the director on the other side of the glass, and what they want. You have to be malleable to what's going to work, and you have to stay in the framework of the context.

You really have to bring your game and know what you want to do. And then, there are the producers and the writers and the director on the other side of the glass, and what they want. You have to be malleable to what's going to work, and you have to stay in the framework of the context.

The thing is, when you put a button in someone's hand and give them the power of yes or no, no is a shorter word. People just say no. The power lies in who can say no the most. But, real power, though, lies in the opportunity to say yes. I think people ultimately realize that, but not when they're in the spotlight.

It's a different thing to just be a voice. It's liberating, on one hand, because you get to show up in sweatpants and with Doritos on your fingers, but on the other hand, it's limiting because it's just your voice.

I know that the vitriol and hyperbole that exists online, and the anonymity, can be deadly because it's cloaked in negativity and it's brutal sometimes.

Nine times out of ten, I'm trying to meet someone else's expectations, whether it's the director or the writer or the animator, when I go back in to re-record a line. I'm the icing on the cake, but the cake is the thing. I'm really just a hood ornament on a very solid vehicle.

If you ever go behind the glass and look at the focus groups that are deciding what you're gonna watch, it's scary. This cross-section of people they just happen to bring in to decide the fate of mankind on television is really scary.