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When we perform music at TV shows, we always try to do something that's not scripted because anything that's a surprise for the audience and the crew and the other performers, it works better on camera and for the people back home, too.

The best thing that I bring in my live show is that it's not scripted. It's more of a conversation with my audience. And that's what people like about the show - it's very real. There are mistakes and laughter.

Early on, someone had told me, 'You know, the camera can always tell when you're lying.' And, Jesus, that intimidated me. 'The camera can always tell? How am I going to do this?' Until one day I thought, 'Wait a minute, acting is lying. Acting is all about lying.'

If I have one criticism of the other late-night shows, it's that they're almost entirely scripted.

There are so few representations of women that look remotely real in scripted television.

I look at scripts really for whether they can be moving or penetrate some kind of truth. You are constantly chasing that feeling as an actor when every part of a production comes together.

We're actually doing something scripted that's totally, you know, we kind of know what's going on, however, we're having to live life and death as the art.

The hardest thing is that I never do anything the same way twice, and when I'm on the air, I'm very unscripted, and I'm very comfortable in that role. So me being scripted is not a comfortable place for me.

I think it's a lot easier to put together a reality show than to actually create a scripted show.

I think journalists and filmmakers are keen observers. And actors must also be sharp observers as they draw their characters and their stories from what they experience around them. After all, that is what actors, filmmakers, journalists are trained to be: observers. And then they do something with their observations.