I don't know if I'd call myself a prodigy, but I was a big forensics competitor in high school, and then during college I spent some time working at speech and debate camps as a coach.

I was trained as a straight dramatist.

I grew up on 'Lawrence' and 'Zhivago'. A legacy with not one but multiple timeless classics.

When you're doing a show like 'The Book of Mormon,' you're completely spent by the time the show is over.

Coming off of 'Book of Mormon,' I had a lot of opportunities. I didn't want to do TV, actually. I really wanted to get paid nothing and keep doing theater at all costs.

It's funny because The Book of Mormon is The Book of Mormon now. When I was doing it at the very beginning, and I was a part of it for four years and always believed in it, I never really knew if it was going to be more than a convention for South Park fans.

Josh [Gad] is such an amazing improviser and is so good when the material is flowing from him that sometimes, if a written scene isn't working quite right, I'll tell him that we've got it and that he can just play. He'll blow us away with some super weird stuff and some wild things that we might use bits and pieces of in the edit, and then I'll say, "Just for good measure, let's do one more of the scripted version."