I came from a Sorkin-like project in the sense that there was no freedom to change a line, which, in a weird way, is its own freedom because you're living within that structure and know this is what it is. You just adjust. Every project has its own personality.

The thing you must really do in television is bring yourself to everything you do - you can't try to be anybody else.

Over and over in the play my character says, "I'm thirty-two years old," as if that should explain everything that's wrong in her life. I don't know what it's like to be thirty-two, but I can imagine. I imagine she means she's stuck in an in-between time, she's at an age that isn't a milestone but more of a no-man's-land, an age where she's feeling like her hopes are fading.

Like my dad, I have a Christmas party most years. I like to celebrate and see as many people as possible.

You want the story to end when it's supposed to and not be squeezed for somebody's financial gain.

Once again, I've been thwarted by the massive difference between my vision of the successful me and the me I'm currently stuck with.

I think what my hope is is that the only downside of having a steady job on television is, I think for all actors, there's a piece, there's some adrenaline, and part of the love of the job is not knowing what's coming next, and the variety.