I find myself acting for an editor more, because there's a quick turnaround with television, so you want to try and seem like you're as frenetic as possible, while replicating your movement so you're giving the editor more opportunity to cut within the different takes. If you're so crazy that you're sitting in one take and standing in another, the editor can only choose one take or the other. But if you can wrangle yourself into the same spot over and over, then you give them more choices for you.

I'm shocked at how early everything closes here. But people start earlier. I miss the late nightlife in NYC, but then again I sing and burn so much energy in the show that it's probably good - I get to go home and sleep.

We're blessed on 'How I Met Your Mother' to feel like we're doing a bit of a funny playlet everyday.

I'm a very lucky man in this chapter of my professional life, 'cause I get to do jobs with wildly different skill sets.

What I enjoy so much about the Tonys' uniqueness is that anyone who's tuning in has an interest in seeing the show, so our job is halfway done.

That movie [A Series of Unfortunate Events] told four books in two hours, and we have two hours per book. So we have eight hours to tell four books, and if people watch we'll get to tell more of them. There's only thirteen books, so there's only going to be two more seasons, but that allows for a lot of time to be in character and to maintain character.

I love the American musical for the simplicity of emotion that gets expressed.