I was a teenager in '95, so I didn't dress like a woman then. I was really small. I remember wishing I wasn't wearing Gap Kids.

I always loved to sing and was very, very loud. I wanted to be a movie star, like Judy Garland.

The experience of the human, male or female, cannot be completely defined by one startling, surprising, or gigantic life experience.

I've called myself an accidental activist because I came to it not on purpose.

It's not good for me to see things while they're being edited. I can be highly critical, so I try to stay away.

When I was growing up, I was so fascinated by Mel Blanc and all of the different voices that he did for 'Looney Tunes' and watching Robin Williams record voice-over for the genie in 'Aladdin.' It always seemed to be a major honor - something you have to earn. Like people trust you when they want to have you there without seeing you.

It makes a lot of sense to me that I would be a cartoon. I feel like a cartoon as a person. I really, really do.

I never noticed my voice. I did become aware as a little kid at camp that I liked doing accents. We'd do plays and skits, and I realized I loved speaking in voices that weren't my own.

It's strange: I've done so many things up until I did 'Obvious Child,' including writing children's books and making 'Marcel the Shell.' To me, the through-line is incredibly clear: it all comes from wanting to be connected to my own inner voice and not wanting to be on somebody else's agenda if that means that I can't be myself.

There's not one type of stand-up, just like there's not one type of woman.

Using creative expression as a means to a professional end makes me curl up a bit.

If I'm going to have baked goods in the morning, the rule is that I have to make them myself.

There's a whole thing now in the entertainment industry that's like, 'You need to write for yourself. Those are the people that are really valuable.' And it's just like, 'I don't want to! I just want to act!'

I tend to be a bit of a workaholic, but I also can't function without some sort of domesticity as well.

I think that there have been a lot of fear-based assertions that feminism is about aggression, and that is incorrect and untrue. Feminism is about equality; that's what it's about.

People say that the best part about doing animation is that you don't have to dress up to go to work, but I don't believe that. I dress up to go to work. I dress up for an airplane. I think it's just focusing your skillset, focusing on your voice and the comedy.

'Obvious Child,' the short, had a nice life online and a great festival run, but the short and the feature still stand apart from everything else I've done. I play a woman who you might meet in life. My other work is much more heightened.

I think I was aware when I started doing stand-up, especially on my own, that, yeah, I'm getting up on stage, and I'm a woman, and I dress in a sort of typically feminine fashion.

There's a lot of different parts to me, so it makes total sense to me that I would do a big TV show or studio movie and then do a free comedy show the next day. They both feel equally important to me.

I think it's important to not just speak to like-minded people.

'Saturday Night Live' will always be this amazing, powerful behemoth, but it's also not the only thing happening in comedy anymore.

That was something that I learned: It's actually okay if the way that I do my best is when I'm treated well.

You're always putting yourself into your work. There's no separation; it's just how you use yourself and transform.

I always thought that farts were funny, and I always thought that they were mine to talk about because they came out of my body.