As a hobbyist, there's something about miniature anything that captures my imagination.

I told personal stories the way [Bill] Cosby would spin a yarn for ten minutes. I think in hindsight it works better as a long story than as a condensed monologue.

To be totally candid, it was really born out of a panic attack the summer between my sophomore and junior years, when I realized I wasn't going to graduate in four years unless I somehow managed to glue together all the courses I'd taken. That said, I'm really glad I did it, 'cause it was really fun, and I was able to just take whatever the hell I wanted.

Sometimes you just create a joke out of thin air in the editing room. So I'm really glad I've had that experience. It gives me a little more confidence in front of the camera.

I worked as an assistant editor, actually, for a few years. That was right when I was just starting to get out at night and do a lot of stand-up, improv, and sketch work in New York. It really is invaluable. I think it pounded into me an awareness of what an editor wants and needs, in terms of clarity of a moment, where and when to start and stop a line.

A lot of kind of like the way that Andy [Bernard] talks, you know, the writers pick up on those things - little moments that I inject and then they start to write it in later. It's hard to say if a whole storyline is spun out of an improv. I feel like it has happened on The Office, I just can't think of it.

I'm the worst in The Office. It's a problem. They've had to shut down the set for like 30 minutes because of me.