For me, comedians are like the epitome for everything great, and they terrify me. I just want to be them. I want to be like them.

Going back is a nice way to give definition to each of the characters because they are so vastly different. I would never want them to get blended together.

I love nerdy work. I love writing notes. I try to go back, as much as I can, to feed what happens and why they do what they do.

I'm running on adrenalin when we're shooting. It's non-stop. As soon as I have time to sit down, then I fall asleep.

I'm attracted to stories that excite my imagination, stories that, as I'm reading the script, I feel it, I can see it, I can hear the characters. I'm attracted to characters that are real, that tap into something inside me that I haven't explored yet.

Sometimes I'll go into a shop and speak in a different accent to see if I can pull it off. But then somebody will be like, 'Where did you say you were from again?' And then I panic, and my accent dissolves, and I pretend like I wasn't doing it in the first place.

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.