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."

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.

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.

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?'

Meryl Streep is so brilliant is because she is so human, and aware as a performer.

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.

I wanted to move on. I wanted to do acting. The next thing I did after [MADtv] was a good hybrid of that. I did this show with Bob Odenkirk and Derek Waters (creator of Comedy Central's "Drunk History") and it was a little homegrown thing that we shot and then we sold it to HBO. We made a pilot and HBO didn't pick it up, but then we made all these webisodes. This was before streaming stuff online made any sense. (The episodes are available on YouTube). Nobody even knew how to watch things on the internet.