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I just kind of do my thing with sort of tunnel vision for the story and my role and how it fits together.

Every role affords me something different in the way of understanding, and that's really why you take these roles, not to show that thing that people talk about of showing what you can do - that has nothing to do with anything.

One of the reasons I started working at 'South Park,' actually, was that I wanted to learn how to structure things and how to tell a story.

When you're on TV, you're looking at a half-page of material, trying to memorize it really quickly. By the time it's on TV, I've already forgotten what I said, but I can still recite my whole role from Shakespeare in the Park. It works a different set of muscles.

My memorization skills aren't that great so I need help in that area. As far as everything else, I listen to the director. I'm someone who doesn't argue. I hit my marks and say the lines.

I've come to understand my role. On some level, I provide the context for them to shine. I also know my role is the steward of the songs, and the center point, the artist that the stuff all revolves around. But I really try to honor that.

I taught myself to listen and kind of regurgitate what I was surrounded by, and it's been a wonderful tool to have as an actor.

When I got my job on 'Parks,' it was so dreamy, kind of unfathomable. I didn't think a job that excellent could exist for me.

As a director, I've been able to combine with what I've learned as an actor and as a producer: it melds quite nicely into what I feel like I should have been doing all along.