No one has ever bought me underwear, and I'm a little bummed about that. Maybe it's not such a big deal any more.

Half of my family has a deep-rooted connection to the South and Louisiana, and for me, New Orleans is one of our most precious, historic communities: visually, emotionally, artistically.

I used to be an optimist, but now I know that nothing is going to turn out as I expect.

If you're gonna tell a story from beginning to end, I always think you have to have a great structure in a script. If it gets you excited and it's something you've never read before that's another plus. I think also with improv and that whole world of stand-up, that's a whole other organism of comedy that still needs a story, but it's more free-form. On the set, it is the combination of both those worlds coming together: a great script and an allowance to play with it.

You're never in control. That - that is the greatest fallacy of the - you know, there's over 200 people that it requires to make a film. And there's people who are in control of how you look, what your performance is, what takes are used, what - you're only in control of how you say no.

Getting into television was a total fluke.

I keep saying, 'Don't change. Be who you are,' but society is really strong in their opinions.