I'm not a very methodologically pure actor. Almost every time that I start, I feel completely at sea. Always at the beginning I feel like a fraud, really, because I'm never sure how to get started.

I do subscribe to the maxim that generally comedy is like jazz. Either you get it or you don't. You can't learn it and you can't be taught it. I don't think that if you are not a funny person, you can fake it.

Identical twins are endemically alike in many ways.

The more you can create that magic bubble, that suspension of disbelief, for a while, the better.

When I was very small, I had that first-time-you-see-a-play experience, which immediately made me want to act, because it seemed like this incredible outlet for something I was already doing fairly compulsively anyway, which was putting on hats and costumes and doing funny voices. It was a very natural compulsion for me.

You never make all things for all people and can't always pander to the broadest denominator. I keep an eye toward doing the themes that interest me. Do they move me? Interest me? Make me think? When I run across something that is provocative in an unsettling way, it appeals to me.

People think because I went to Yale that that implies privilege, and it is a privilege in the sense that it's an incredible opportunity.