I remember as a child listening to comedic musicals and thinking they were a real riot. I had pretty questionable taste in comedy.

The days that you record by yourself, you feel like a crazy person because you're saying the same line, 10 different ways, or they ask you for 10 different grunting sounds and you just feel like such a schmuck. It's crazy! When there's other people there, it tethers you to something, in a nice way.

I actually really liked teaching. I started teaching at UCB when I was in college. I would get someone to fill out an internship form or something so I would get the credit. But why did I start teaching? I loved it. I loved doing improv and loved UCB and wanted to be a part of that world and that community.

There's some boring advice for improvisers beginning their careers like "see as much of it as you can and do as much of it as you can." Volume, in a way, is the most important thing. Not, like, decibel volume - just immerse yourself in it as much as possible. I'd also suggest that you put a high value on your personal interests and tastes.

I would love to do a drama. I did a couple of episodes of The Good Wife, which is more of a drama. I really liked that; I thought it was interesting. A lot of my favorite comedies play out as dramas.

For the first actual comedy-comedy I did, I took a comedy class in New York, which was full of slightly unhinged people. It was a pretty depressing crowd, very angry and strange people. But then I took a class at the Upright Citizens Brigade and I loved those people.

I think sometimes when people start doing improv there's some regression towards trying to replicate the "good" improvisers that they've read about in their improv books or heard about from their teachers. That's understandable, because they're trying to learn technique and stuff, but I actually think that my favorite performers are ones who have unique improv technique but also have a unique point of view that you can feel with them and their performances.