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.

A lot of young people think they are not going to die - and that's a great thing about being a young person, is living in this carefree oblivion.

Relationships are possible, but are definitely not a road paved with roses.

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.

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.

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

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.