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I really enjoyed multicamera comedy. You film in front of a live audience, and it's kind of the best of both worlds. It's like doing a one-act play every week, but if you screw your lines up, you get to do it over.

To me, a multi-cam is just like the feeling you get from the audience.

Sitcoms are like summer stock. You put it up in three days, and then you do it in front of an audience, so it's a really great transition from theatre into camera work.

I love a good comedy, but the slapstick sitcom belly-laugh sort of comedy - the multicam thing - is not really where my interests lie. I'm very interested in single-cam, in intimate portraits. I like it when comedies have a little bit of realism and a little bit of darkness to them. It makes them more palatable and more relatable and grounded.

You know, it's nice on a sitcom to have an audience there, but there's still a wall of cameras between you and them.

I just love being in front of the camera making people laugh, cry, entertaining them. It's the 'nasha' of performance that I enjoy. It's my calling, and I'm blessed to be able to do that for a living.

Playing in front of an audience was just such a turn-on for me, and you have 200 people in the audience and it's like doing live theater. And filming something that goes to millions of people several weeks later, it's an interesting dynamic.

I love doing sitcoms. I love doing comedy. I love the whole shooting match.

When you're doing a single-camera show, it's more buying into a level of reality. I think a sitcom, a four-camera show, doesn't require that so much. I think with a film show, you just need the characters to grow.

The only thing I miss from the sitcom format is that immediate gratification of when you're, if we're talking about comedy, of the live audience.