What I wanted to do was music, until I was about 16. But it was jazz and rock, never classical music.

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!'

That is what's disconcerting about working on the show, you can't seem to get an instinct about what works and what doesn't. It happens a lot, and in different ways.

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.

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.

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's no real escape from the work, but in some ways, if you're as obsessive as I am, it's a sweet little thing we've figured out. You bring your work home and you work 24 hours a day, but it's good.