I try to preserve whatever balance society has between public and personal life. I never try to eat on the subway. I never try to listen to loud music on the subway.

What I like in comedies are really two things: stories that are character-driven and stories that are rooted in authenticity.

If you film a scene in a wide shot, especially a disturbing, distressing moment, I do feel like that helps you feel as though you're the room with these people, instead of cutting it up and getting close - which you wouldn't be doing if you were actually in a room with these people.

My day-to-day local issues are rooted in an underlying fear of death.

Im from Boston, and I get easily overwhelmed in New York, so I go to Boston and stay with my parents for a few months at a time to write, or edit, or just to cry.

Some people should have more levels of maturity than others, but you know to have a show that's grounded, tethered to reality, if you follow a group of people for six years and you show no maturity, I think that would be inaccurate.

There's this biological association, when you do this movement, these things happen, and you're basically trying to rewire this 4-billion-year-old reflexive circuitry, which for me can be challenging if I don't really focus. It's the one of the few times as an actor where you are basically showing something with your body and your face that's completely different than what's going on in your mind.