I am telling you, if you ever wanted an ego boost, leave your job and then, six months later, come back for a day. People will treat you like you're a princess.

There is something about my aura or essence, or whatever, that draws the ex-wife characters to me. I don't seek them out, but people tend to think of me for that particular archetype, or whatever you want to call it, and I don't mind it. I think there is a strength to it.

The fact is that viewers are fickle and it's rare that such a large group of people can be categorized in any type of way. There's enough content to go around, and if we stop focusing on numbers and start focusing on the quality of the project, then I think everybody - viewers and artists alike - is going to be a lot happier.

There's something sort of intrinsic in being a Southerner that doesn't go away. You can't get rid of it, but it's not something that's terribly obvious.

After the play of 'Fleabag,' we had conversations with different channels and with film companies about whether 'Fleabag' should be a half-hour sitcom, an hourlong, serialized drama, or a film. And I knew that it couldn't be a drama because I wanted to hide the drama - that had to be the surprise. I knew it had to be comedy.

There are just certain things that turn my head. It may be a girl's sense of humor, it may be her wit, or her belief system; it could be a lot of different things.

I thought 'Garfunkel and Oates' would be too confusing, but it ended up being confusing in the best of ways because the first time we played a comedy club, it was because they thought we were the real Garfunkel and Oates.

We actually did quite a lot of comedy on 'Xena'. The whole show was very tongue-in-cheek.