There are those moments where you realize that your parents or your heroes are human and are fallible. That concept, in and of itself, is something that is dangerous to me, in a good way. It's exciting and scary to meet those people.

I always honestly dreamed of coming to Second City in Chicago, although I've never even been there to see a show. But I did a ton of sketch comedy at the Second City in LA, which (at the time, in a different location) wasn't really a theater, it was just a space where you took some classes.

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!'

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

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!'

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

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."