I like to invest as a performer in the director's vision and then bring a sense of reality to whatever I'm doing, whether it's comedy or whether it's drama, and trust that they're going to tell me if something's reading as funny or if it's reading as dramatic or reading in the right tone.

If you're constantly moving, you can get in a monotony that's just as equally boring as sitting still for a long period of time.

I've gotten a lot more comfortable with the audition process, but there's something that really turned me off initially when I was younger, to auditioning. The idea that I couldn't get to the person that was actually making the film really frustrated me.

The great thing about university is that they incline you to get up and do it, from the Classics to modern plays, to the humor that Monty Pythons made popular.

Here's my take on Andy Kaufman... For Kaufman, comedy was a skill that was open for examination. He didn't just do comedy, he deconstructed it like it was a transistor set. He pulled out all the wires and switched them around, often in front of our very eyes.

The Comedy Central CDs combined with the TV specials are what led to my stuff being traded and passed around, and a lot more people knowing my jokes than I thought.

For me, the way I stay consistent is through stand-up comedy.