I think auditioning can be very reductive and I just hate how actors work really hard and most of them aren't going to get the job, and I hate putting them through that.

I think I'm a little more daunted by when the machinery of the play is really huge.

I don't mind him not talking so much, because you can hear his voice in your heart; the same way you can hear a song in your head even if there isn't a radio playing; the same way you can hear those blackbirds flying when they're not in the sky

I find that more and more I'm trying to entertain myself when I'm working, because I know the work's going to go to a horrible place.

I've been living in Portland for five months and I'm not sure how I feel about it. I probably won't really know for years because that's how it works right? You don't really develop feelings about a place till you've left it. It's like a girl or a dog.

I suffer from and enjoy an incredibly vivid dream life. A lot of times there is a sort-of narrative and other times they are just funhouses of non-linear imagery and other scary stuff.

There must be some unwritten law that says about fifty people have to move into your house when somebody dies. If it weren't for the smell of death clinging to the walls, you might think it was your family's turn to host the month neighborhood potluck supper.