I don't mind being recognized, it's just that I have a bit of social anxiety, and this situation has increased it. The idea of having to be 'on' and social at random times can be difficult. I'll be out in the morning, someone comes and takes a picture, and then I discover I have toothpaste on my face.

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 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.

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 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."

I had to learn all the pieces backward and forward [to play it in "Florence Foster Jenkins"]. We practiced on weekends. It was very much like being in school, except it was with Meryl Streep. Like, I would go to her apartment and we would practice Mozart's "Queen of the Night."

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.