I'm always disappointed after an audition when I don't get a part and I hear, "Oh, she was too X, or too Y," and it's too much of a quality.

In New York you can just walk out and be among people. You're on the subway among people, you go to cafes, you can talk to people.

I've always really been interested in the Pygmalion myth and both what it has to say about creativity and what it has to say about relationships between men and women. I'd been thinking about what I would want to do with that if I was going to write on that theme, and one morning I woke up and Calvin and Ruby Sparks were in my head.

A lot of what I've had produced are plays, and I just don't want to do that. It's different than a movie, where you only have to act the scenes the one time, and you have other collaborators helping you make it better, so you don't feel as obsessed with your own mind. Plays you have to do every single night, and the thought of that is agony to me. There are days when you hate your own work, and you don't want to be confronted with that, have it coming out of your mouth or listening to somebody else say it to you. There are days you want to leave the theater and get a drink.

I feel lucky to receive such critical attention and praise when you're in a show that's going to last a month, it's just easier when audiences are more receptive. I've done two new shows this year, so I'm always excited to work on something a little older, traditional and structured.

There are a lot of words that I knew first as a reader, and I never put the pieces together in my brain. The word segue I thought was pronounced "seeg," I think until I went to college, which is horribly embarrassing.

I find playwriting really painful. I love it, or I wouldn't do it, but I don't love the theater as much as I love movies.