I like to invest as a performer in the director's vision and then bring a sense of reality to whatever I'm doing, whether it's comedy or whether it's drama, and trust that they're going to tell me if something's reading as funny or if it's reading as dramatic or reading in the right tone.
I've gotten a lot more comfortable with the audition process, but there's something that really turned me off initially when I was younger, to auditioning. The idea that I couldn't get to the person that was actually making the film really frustrated me.
I've seen comedians make people laugh by being either really dark and sad and touching, or really strange and bizarre and creepy. You can take the format and do whatever you want with it, and that seemed interesting to me.
I was doing experimental theater and experimental film in San Francisco, and I moved to Los Angeles, and what I got frustrated with was, it seemed like everyone was waiting for something to happen. Obviously, films take a lot of planning, and I wanted something more immediate, and comedy started to become that.