Sometimes the characters that I'm most resistant to are the ones that I find the most satisfying to play, because you have to dig deeper and you have to find different parts of yourself that are not necessarily the first thing you access and that's fun and interesting.

I've always just shown up to set and said the lines, [but] I want to help develop scripts and help cast and help bring a visual tone to something.

I feel crushingly embarrassed when I do bad work, so being rejected after doing bad work is actually harder than being rejected after doing good work.

We live in a time where improv is king and people love improv, and I think there's a time and a place for that and people who are really good at structuring improv.

Offers come up, but I'm still fighting for jobs and auditioning and being rejected.

As you get older and you progress in your career, you start to want to have more control over things and you have ideas.

Both of my parents were incredibly supportive of me being in any arts, because they were both in the arts. They weren't the typical story of, "Oh, get a real job. You need to make money." They basically said, "Yup, be an artist. You'll be broke your whole life but you'll be happy."