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."

When you have a kid, it changes your life. It reminds you, this is my life now: I'm responsible for this tiny person. It's so surreal.

Josh Gad and I have been friends since the time he auditioned for Modern Family. I directed the pilot for that, and that's how we met.

I was like a Borscht Belt comedian trapped in the body of a 6-year-old. I was channeling Jackie Mason at 7.

[ 1600 Penn] is an ensemble comedy about a family. It just happens to utilize the fact that my character is now being forced into this world as a jumping off point. But, in no way is it the crux of the series. It's simply an introduction to the world.

I was a product of a divorced family and I used humor as a weapon to combat sadness. I used comedy to make my mother laugh in light of the darkness that she faced, and to me it became a very powerful tool at a very young age, at six. I saw how therapeutic it could be.