I think getting drunk is the key to flying comfortably. A couple of bloody marys or several glasses of champagne, and suddenly it's like you're on a roller coaster.

Mark and jay Duplass really like to improvise. Even if we beg them to go back to the script, they invariably ask us to go "off the rails," as they like to call it. It's just the way they work. You get a full written script. And it's really, really, really good, so that's why it's kind of peculiar that they always want you to improvise, because if I wrote something that good, I would want everyone to stick to the dialogue that was written.

I would do a musical, but I can't sing.

I think it took me a long time to realize that you can't really score unless someone passes you the ball. The older you get as a woman, it's fewer and far between. The material isn't there.

Nancy has her vision and she's a formidable force to be reckoned with, and that's similar to most of the male directors I've worked with. The only difference is probably inbetween scenes, gossiping with Diane Keaton, Frances McDormand and Nancy Meyers about who's had Botox and who hasn't.

When I read "The Whole Nine Yards" I was like, 'Okay, this is a G-spot role'.

If you take "Cheers" and "Seinfeld" and watch the early shows, they're kind of awkward. It took a while for the writers and everything to gel.