On 'Veep,' people are connecting with each other, even if they're making backhanded comments about somebody behind someone else's back.
My cousin Dwayne was really the first person who was like, 'You're funny, man!' I was like, 'OK, sure.'
My mom is from Ghana, and my dad is from the States, so even in my family when I was growing up, my mom said I was the American one, and my dad said I was the weird African one.
I think Detroit deserves a comedy that's not about suffering.
There's no place I love more than Detroit.
When you consume a half hour or an hour of television, you can talk about what happened as opposed to consuming ten hours of content, and then you don't remember everything you want to talk about.
I try to tweet, but I still haven't gotten into the rhythm as much as some people who have, like, 20,000 tweets. There are some great comedians on there, so you get some pretty funny hot takes and bits.
I use Postmates more than I use the actual telephone app on my phone.
I'm an audiophile and have been collecting records for as long as I can remember.
I've worked on shows where it's fun; you want to hang out. If you're enjoying it, that's how you take ownership of it. You want to give to be a part of this thing. I feel that's the mood on the set of 'Detroiters.'
What I find funny are peoples' blind spots. That's the funniest thing about anybody - when they just don't realize who they are. What's funny about seeing a hippo do ballet is it thinks it's a swan.
Performing in Detroit or performing in Chicago, you're on your own turf, but when you tour a show, the audiences change. You're in a completely different space; sensibilities change. I think I learned a lot from doing that - how written material works in different places, learning to have confidence, learning the idea of how to be adaptable.
I grew up between Detroit and Ghana, and I had to make friends in an instant. It sharpened my wit, and also, just for my own sanity's sake, I felt like I wanted to entertain myself. So I'm going through all these experiences, and I ask myself, 'Is this crazy? Is it? Wait, what's so funny about this?'
At Second City and improvising at iO, you're creating a character in an instant. All of a sudden, you're creating this history and this past for your character, and you're discovering it while you're doing it, and that's part of the fun of it.
The most interesting thing about characters are their blind spots. They miss the periphery.
If you want to land a punchline for how bad something is, you say 'Detroit,' even, like, in conversation. 'Oh, well, things could be worse. You could be in Detroit.' It makes me so mad.
I want to play my Joker. Not the Joker, but my Joker. Somebody who can have fun doing wrong.
I was a shy kid up until the sixth grade, and then I started to let loose.
With Richard Splett, he's like the only character on 'Veep' that has no angle. He's guileless. He also believes in the power of government.
I would love to carry on with Second City and see where that takes me, but it's always been a dream to work on 'Saturday Night Live' and do films.