I've seen several funnel clouds as a kid, too. They're cool if, you know, they're, like, two towns over, but they're scary as hell if you know they're coming your way.

Authentic discovery, when captured on camera, I think, is tremendous acting.

Stylistically, in improv, I don't think you can have as many camera tricks; I think you're kind of shooting more like a documentary: you don't know where it's going, so you have to hang back a little more.

When I started doing improv in Chicago, for every five teams, one or two would have one woman.

Directors, like actors, get typecast. And because I've had great success with comedy and horror and TV shows, that's basically what I'm kind of offered.

I haven't been offered a lot of comedy. In theater, I've done quite a bit of comedy or dramas that included a lot of funny stuff. But in my TV work, those aren't the roles that I've been offered.

I tend to like dry humor.

Kind of the exhausting thing about doing pure comedy, or something that's broader, is you're kind of a slave to the laugh. If it's not funny, then there's not much point in doing it. The kind of ueber-objective is to make people laugh. You always have to have that in the back of your mind, 'Eh, I've got to figure out a way to make this funny.'