It's always nice when someone says that they don't realize it's me on screen, but it would be strange to enter a one story while thinking of another character I do, which is completely different.

It's always nice when someone says that they don't realize it's me on screen, but it would be strange to enter a one story while thinking of another character I do, which is completely different.

It's amazing to watch somebody who is kind of this sleazy, degenerate lothario, sex-crazed guy become sort of a romantic, settled-down man about to have a baby.

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 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."

It's not really about confidence. It's just something that isn't really in the vocabulary of what goes on at work. The writers write and the actors act.

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!'