Both my parents were working in politics when I was growing up, so going on stage was not that great a leap.

I know this is a weird niche, but a lot of my female friends have these strange stories where there their dads have seen the small successes of their daughters and have decided that they are creative as well.

Something that's good in the mini-culture of 'Happy Endings' is that the goal is to try and make each other laugh. There is a pretty high bar, and you want to make the writers laugh, and you want to elevate what's already great material - and also, we're like, 'Who is even watching this? Let's just go for it.'

With agents, I've learned to bring them into the process when I feel confident. You're the only one that can really know what's right for your career. You're on a wing and a prayer through most of it.

I'm a funny guy. I love to laugh. I love to have a good time. You'll never see me down or, before the game, looking mad. I'm just not that type of person.

I always make this joke that I know you were expecting to see the big skirts and the hoops. But that was a long time ago. Artists aren't always seen as real people. If you start out as a teenager, sometimes people want to keep you locked as that. But I'm a woman now.

Everybody in comedy has something like that happen to them: They bomb, or no one shows up. You're like, 'Hey, I'm funny, trust me!' And the world collectively goes, 'Yeah, you and everybody else.'

I never looked at my future as comedy. Even at Second City, I always thought of it as acting. I knew I was going to be an actor financially, emotionally, egotistically.