If I'm not clear with the character, I can't do anything with it. But once I get that character, the possibilities are endless. When you have such a defined character, I feel like I can actually read the phone book and make it funny.

You can't improv off of bad writing. Then you have to actually create your objective, which is really hard to do in an element without the skeleton to go off of.

In college, I went to school for acting; we had to learn phonetics just to be able to do dialects and all that stuff. I'm somebody who does better just hearing it. I'll just imitate it, and I get it better that way. When I know too much information, I'm not great.

Kids kill a show! It's, like, a fun concept when the character is pregnant, but then if a show runs for a while, I'm sorry, but it gets annoying when it starts to talk. You get a child actor in there, and unless that child actor is freakin' awesome, it's going to be annoying.

I definitely want to do more movies, and I'm also a writer, so I have a few screenplays that I'm working on, one of them based off my one-woman show that I used to do in New York. Two of the screenplays I've written by myself, and then I'm also working on one with my writing partner, Tom Riley, who's in London.

My dad actually taught me to box when I was, like, nine years old, because I got picked on at school all of the time. I was on a boys' hockey team, so I would get all of my aggression out there.

There's such an odd, eclectic group of people that make up the town of Plymouth, New Hampshire. I don't think I could avoid not coming out of there with a pretty good sense of humor.