I think as an actor, you're constantly putting yourself out there, and a lot of times failing - and failing in front of a bunch of people - and sometimes you have a good moment and something clicks.

I was shooting on The Mindy Project while I was editing Alex of Venice, which was the stupidest thing I could've done. It was like having two full-time jobs. But in editing some characters were dropped, some storylines were dropped. It just starts dictating what it's supposed to be.It's scary, but fun to try to be brave and to "kill your darlings." To get rid of the stuff that you were like, "Oh, I'll never get rid of that. I love that. As long of a take as it is, I'm gonna keep that in."

I like funny things, but I don't find myself particularly funny.

I'm from Long Island. Strong Island.

I mean, in the editing room, you sit there, and you're so happy about a lot of it. You've got these great actors, and the DP's great, and you love it... And then there's so much you're mad about. Cause you've made so many mistakes. So yeah, there're scenarios where you're like, "Ah, I wish I could change this. How do I make this better?" "No matter what I do, the scene's not working, what do I do?"

As corny as it sounds, I'm often pinching myself going, 'What great opportunities and great parts and great people that I've gotten to work with.

I think Aaron Sorkin is like Shakespeare. When you go through it, there is a rhythm and clues all over the place of how it should be played.