You're always choosing the start point and the end point. And almost by definition, the most interesting period is where something happens, as a result of which something is different at the end. And so to me, the idea that you know everything about a character at the beginning is sort of ridiculous. Something has to be revealed. I like it when the deeper you go with the character, the more you see the layers start to peel away. It's more challenging to me, but it's also just interesting. Those are the things I like to watch. I like to watch the evolutions of something.

Sometimes we don't see certain things until we're ready to see them in a certain way.

Sometimes their oppression of emotion and the weird way it comes out is more interesting than painting it in bold primary colors.

The Zionist Tulsa Jew who's pugnacious is a reality. I grew up around it. And I think it's really, really funny and surprising and unlikely.

As an actor, I don't have any politics. As an actor, I'm driven more by an authentic - I would say an obsessive-compulsive-disorder level-fixation on mimicry, tonality of voice, to literally imitate something until I can just disappear into it.

I think we really feel like Crowdrise could be something that, 20 years from now, people take for granted because that's just how you do it, like if you're going to raise money for something, that's how you do it.

I knew Danny DeVito and he knew me, so he wanted me to try Death to Smoochy. I loved that stuff and had a great time doing it.