Going into editing when I got to New York was part of that. I guess I just kind of wanted to know as much as possible. But I have a real love of the whole process, from start to finish. So right now, I fit into the acting part of the process, but I wouldn't rule anything out. I'm enamored with how the whole thing works.

As an editor, you're constantly dealing with the best way to convey an exchange between two people. So when I'm shooting that, I'm just aware in the back of my head what an editor might want. And also, the problems editors run into when trying to edit performances - it helps me head that off at the pass a little.

As much as you do get beat-up doing even small action sequences, it's incredibly fun.

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.

It was never tough [ being the new guy]. It's just the warmest group of people [The Office stuff] you could ever hope to work with.

No one employed [ chaos] better than Jim Henson, by the way, on The Muppets. He had all these chicken Muppets that just brought in the most glorious chaos to whatever scene they were a part of.

It's a fascinating culture [the South in the Civil War period] and so rife with comedic possibilities. And not in a way that...I have no intention of making fun of re-enactors. I think it's more just a celebration of their passion and enthusiasm, which is so infectious and maybe at times a little misguided.