I was a Russian dancer in my elementary school production of Fiddler on the Roof when I was in third grade or fourth grade. I was one of the younger kids accepted into the play, and the plays were pretty impressive, let me say.

I really unfortunately don't have tons of hilarious Sundance stories, because really I am not the biggest fan of hanging out, but the reason why is because I never go see other people's movies and I think that's the way to do it.

I'm actually really proud of how I believe people perceive me in this industry. I worked really hard to be seen in a certain way. I think I get a lot of respect for what I usually do. I find that comedic world completely fulfilling and wonderful and they're all my best friends.

It's refreshing, honestly, to be able to have more intellectual conversations about sex and the meaning of sex, and intimacy and what that means in relationships. As a person in the world, it's on your mind. It's a part of your life, after a certain age until you're dead. So, to be able to examine it in a different way is really fulfilling.

I think there's something very lovely and hilarious about exploring the particular neuroses of the female mind. It's just not the same thing with men. I mean, there are exceptions, but for the most part, women beat themselves up in their heads more. They overanalyze stuff far more than men do.

I'm really awkward when people recognize me. I'm not good at it, and for the most part it hadn't happened to me until 'True Blood,' and then, all of a sudden, it started happening all the time.

I'm extra harsh on pilot scripts, which is difficult because pilots, generally, are not that great. You have to imagine the whole series instead of just that one script, and I have a really hard time doing that.