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As I slowly managed to take what I had learned into a transition from contestant to announcer and warm-up, I first had to prove myself on pilots. And as you know, many pilots are taped for each show that is lucky enough to breakthrough to being a series.

There was so long from when we did the pilot and then when the show was eventually picked up by Comedy Central - and, in fact, we had to shoot the pilot twice.

At the end of the day, it's really, really difficult to make a brand-new show, to write a pilot where you have to introduce characters and everyone has to kind of be dynamic and have something different for themselves.

I had worked for ten years in theater; I had worked at Second City in Chicago. Then I got to Hollywood, and I was like, naively, 'Where's my pilot?'

I did some commercials and a couple of B movies, then a few pilots that didn't go anywhere. Eventually I did the pilot for Beverly Hills, 90210. The rest is history.

I've not been distracted by a long-running TV show or visits to America for pilot season.

I wound up getting pulled into being a consultant on the Lifetime drama 'For the People.' The executive producer said, 'I want you to write scripts.' We sold pilots to a bunch of different networks.

On a TV show, you don't know where the character is going.

I had done another show called 'United States of Cars,' which was a pilot that didn't get picked up. And they said, 'You know, we're doing 'Top Gear,' and would you like to meet the guys?' It was the wild - most wild audition I ever had because I never went to a studio or a producer's office.