In voicing so much is left to your imagination to create the world around you like that. It's really the essence of what's so fun for, I think, many people when they first start to want to be an actor, is that they realise they enjoy making up a world around them to exist in, a whole situation and a whole way of being. And even more so than theatre, animation requires that because there's just nothing to go on. It's in your head and your heart or it's not there at all.

You learn a lot as a kid, like you don't know anything. I didn't know what was gonna happen if I opened the door. I thought I was gonna be in another world somehow.

[Voicing a cartoon] feels like going down a mysterious but joyful black hole. Once you relax for 15 or 20 minutes, and really go, "I don't care if I look like an ass," it's really fun to see what happens. You know that nothing is being visually judged.

If I ever wrote a script myself, it would be strongly emotional material.

My Emmy competition is awfully good. My stomach is already in knots. The problem is that I don't drink, so I can't calm myself that way. I wish I could be better at pretending I don't care.

My choices in projects have all been character or role-based, and on a financial level, it's obvious: as an actor on a TV series, I get a wonderful paycheck, and a consistent paycheck, which doesn't always happen when you're doing theater or movies.

I think intelligence is usually sexy until it becomes irritating. After that, you're stuck.