When you're working on a creative thing, everyone has an idea, and they're pushing it. The first time you work with anybody, you have to get comfortable with the way another person pushes hard for what they want.

When I was very small, I had that first-time-you-see-a-play experience, which immediately made me want to act, because it seemed like this incredible outlet for something I was already doing fairly compulsively anyway, which was putting on hats and costumes and doing funny voices. It was a very natural compulsion for me.

In drama, I think, the audience is a willing participant. It's suspending a certain kind of disbelief to try to get something out of a story.

I remember as a kid having the offer of a scholarship, that it was going to be like going to Mars, and deciding to stay in my public school.

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.

I've been friends with the guys in Radiohead for a lot of years, and I watch the way those guys work with incredible envy. Because whatever the slings and arrows of dealing with the record business, at the end of the day, they have total creative autonomy. They don't need a lot to do what they do, and Thom [Yorke] and Jonny [Greenwood] and the guys have their own joint in their hometown.

We must realize that nature is absolutely essential for our survival, and we must act on that premise now.