I think it's possible to be free in a big production. It's the eye of the director and the actor and the story.

I was born in California. When I was six, we moved to a small town in northern Indiana called Mishawaka.

It's hard to kill that father-son bond.

I used to eat a whole chicken every day, for lunch. I did that for four years. But it got tiring - go to the store, buy it, eat it. It’s a mess.

I'm conflicted with theater in the city because you want to reach a diverse audience, and that audience doesn't typically go to the theater.

The only thing I know that makes me feel comfortable is to know as much as I can. Not like what the shots are going to be, but knowing enough about my character that I can forget those things. And more specifically, my lines. I have to know my lines. I have to know something really well, so I can forget it when we're doing it. And there is comfort in knowing, "Okay, there's not another stone that I could have overturned."

I always found something strangely paternal about the director-actor relationship. Actors want so much approval.