I like to invest as a performer in the director's vision and then bring a sense of reality to whatever I'm doing, whether it's comedy or whether it's drama, and trust that they're going to tell me if something's reading as funny or if it's reading as dramatic or reading in the right tone.

I don't think that there's necessarily a side to drama that has to be completely bleak. You have to have a flicker of humor 'cause everyone has a flicker of humor, something they find funny in life.

I sublet place to place with my fiancé. We don't really have a home. I haven't had a proper home for years.

I'd meet a new filmmaker that I'd always loved, and I'd think, "Great! I'm in the right place." It's a weird way to look at it, but I don't care as long as I'm able to make stuff that I want to make.

Boredom is usually what spurs either bad decisions or any decision at all.

I was doing experimental theater and experimental film in San Francisco, and I moved to Los Angeles, and what I got frustrated with was, it seemed like everyone was waiting for something to happen. Obviously, films take a lot of planning, and I wanted something more immediate, and comedy started to become that.

If you're constantly moving, you can get in a monotony that's just as equally boring as sitting still for a long period of time.