I'm fascinated with psychology, and with why a person walks the way they walk or why they walk into a room the way they do or why we are the way we are, and it's not exclusive to the psychology of a character.

'Orphan Black' allows for people to have debates and theories and allegiances to different characters; to trust characters and hate other characters, but it doesn't tell you who is good or bad or right or wrong. That's the most exciting storytelling in my book.

My mom taught me German before I knew English. And I went to French immersion school.

I think that's why it's difficult for women when they watch TV and we see one version of a woman who is attached at the hip to a guy, and that's kind of her whole thing. You kind of go, 'I don't relate to this, I don't feel this.' You know? Maybe somebody does, but not everyone. That's the other thing about storytelling, is you can't represent everybody. You know, you can't seek to do that. You have to tell stories that you're interested in talking about and characters that intrigue you.

Sex isn't hard, but intimacy is terrifying.

For me, comedy literally is way more terrifying than doing drama, so it's always about stretching what I think I can do and putting myself out there in different context.

I grew up in Canada, man - we all had rinks in our backyards because we'd ice down the grass with a hose and build a skating rink.