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 like, I can't believe I get to be in a scene with Meryl Streep [in Florence Foster Jenkins]! And then I was like, but why do I have to play Chopin? It's already going to be intimidating.

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.

Generally people are nice, but it's so weird that it has made me more cautious. Just like anyone else, I like looking around at my environment, but now as I walk down the street I tend to look down.

I wouldn't wear turtlenecks. That I'm not envious of. But who knows? I might sneak out a few things and hope and pray that no one says, 'Hey, didn't you wear that when you were playing an enormous geek on TV?'

When you have this long of a run [in The Big Bang Theory], you don't have to have something happen every episode. Like, Sheldon lost his virginity last season and in the first season he didn't even like girls. So I feel like you can earn that stuff. And that is really fun, because you get to find new layers. It's a testament to the writing.

I met a bunch of people and they said, "We're gonna do a show [Second City]." So we would buy the theater out and do a show, and we did that for five years and we ended up becoming popular. It was before sketch comedy was hipster-time - when you would hand out a flier, people would roll their eyes. Now it's kind of cool.