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

What is important is to maintain integrity of the story, of the character, of the movie, even if it's a big production.

Girls' feels very active and stirring a conversation and controversial, and you can't really ask for more as an actor.

Juilliard definitely emphasizes the theater. They don't train - at all really - for film acting. It's mostly process-oriented, pretty much for the stage.

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

The Marine Corps is some of the best acting training you could have. Having that responsibility for people's lives, suddenly time becomes a really valuable commodity and you want to make the most of it. And for acting, you just have to do the work, just keep doing it.