I did not want to be the accompanist to an operatic star. But I was at a very high level for a 16-year-old, and I maintained that. So really good, but more impressive than classically trained. So I had to take a crash course in classical technique because I really wanted to get away with playing this character [in Florence Foster Jenkins] without people saying, "That's not really accurate."

Im married, so I tend not to hit on every girl.

There are bits at the table read that destroy, so much so that we can't wait to do it in taping. And then, no reaction. And then there are times when I can't get the right read on a line in rehearsal, and then the audience howls at it. The strange thing is I still don't know why it happens like that. It's not like afterwards I think, 'Now I know why that worked!'

I was young. I was 23 or 24. I just wasn't a fan of the politics of campaigning - of going into that environment and competing and trying to get into the good graces of the writers.

There's also these moments when you're like, oh, I really want to do different things. Not instead of this show [The Big Bang Theory]. It's just a hunger to do something else, too.

Actually, when I was young, I believe I met Nicolas Cage. I think I was probably eight, and I remember seeing him at somebody's house - it was an event and he happened to be there. People would ask me if I was his son, because I looked like him at that point, so I do remember feeling some connection and just wanting to say, like, 'Papa!'

To me the ambiguity is, maybe our perception of ourselves is always going to be different than somebody else's perception. There will always be that disparity.