I think in the inception and creation of the characters, improv was the most important part for me, because I wanted to feel at home in those characters. I wanted to feel like I could commit to them. And so much of improv is saying yes and committing, so I think that's where the improv came in. Even if I'm saying yes to the X across the room from me, or the tennis ball on a stick, I have to stay alive.

I've learned a lot about the limits of what I can do, as an artist, or what I'm willing to do. It's a lot of responsibility to carry a show and to speak to people on different levels.

You're revealing something about yourself in a more exaggerated, more fleshed-out way, and it awakens something in you that maybe you didn't know you had.

I try to get roles that challenge me in what I can do and who I think I can portray. For me, it's about creating characters with really fascinating stories, because that's what I like to watch on TV.

It's the reason we go to films and watch television: to escape the mundane nature of life and see another world and see ourselves in that other world. I think that's what sci-fi does so well.

I think being idle is quite hard for me to do.

I love performing. I love doing improv. It's a totally terrifying experience, but it's something that I've always felt so strongly about and that I'm kind of obsessed with. And just as an actor, it's a great exercise. It's a great playground, you know, to try things out and to work on your skills. Because the mandate of improv is kind of the same as acting: It's all about your scene partner, it's all about being present and in the moment and exploring together as a team, a collaboration.