If I'm doing some weird tick with my mouth, or not standing still or something, I'll be the first person to notice it, and then want to change that. I think it's important just to maintain trajectory, to not just use your same tricks over and over.

Coming at the acting business as a technician, I really enjoy the process of working. I really enjoy being in a rehearsal room, starting a theatre piece for the first time. I really enjoy shooting in front of the crew, and I really love going on location. I think all that is just so exciting. So I've never really been drawn into the fame of being an actor, which in L.A., is part and parcel of the deal. I think for a lot of people, especially kids, it's hard to not get wrapped up in the world of the perks that the job brings.

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 not trying to climb a ladder - I'm casting a bit of a net.

I need to stop carving out four-hour chunks to do random things and go home and watch my children grow up.

This next presenter is so lovely you could eat her up with a spoon

I don't want to have to inadvertently find a gift and go like, "What the hell is? Oh no, that's for me." And then have to pretend like I'm surprised later. If I know where they're hidden, I will not look. I love presents and I hate faking surprises.