Albums that remind me of my childhood happiness make me incredibly sad now.

My version of an Irish exit has an air of deception to it, because it includes my asking loudly, “Where’s the bathroom?” and making theatrical looking-around gestures like a lost foreign tourist. But then, instead of finding the bathroom, I sneakily grab my coat and leave.

Sometimes I eavesdrop on people. I could rationalize it - oh, this is good anthropological research for characters I'm writing - but it's basically just nosiness. It also helps me gauge where I'm at: Am I normal?

When you're "East Coast" person, you are so insufferable, and you have no idea. And I was. One, because I was miserable, and nobody liked to be around a miserable person, and two, everything that I thought was so profound, everyone had already dealt with.

I know a lot of people think of me and they like, oh that girl is really sexy, that girl is really put together, she would never do something as unladylike as a beet eating competition.

Sarah [Silverman] writes her own jokes. She doesn't just go through her life and talk about everything. She sits down and crafts jokes. Sometimes her inspiration comes from areas of her life that are risqué. But she is an A-plus professional joke-writer in addition to being very attractive and a great performer.

When you only do 10 episodes for a final season, every character and all of her interactions in every storyline have so much more import because it's the last time we're going to do it. It's been really helpful saying, "OK, where do we want each of these characters to end?" We have 10 episodes to do it and working backward from that, I kind of envy my friends who have always been on a cable network because this is really that great benefit of doing it this way.