School allowed me to have outlets so that some of the pressure was taken off the acting. Every role in every movie, I used to live or die by. Once I had these new outlets, I relaxed a lot more.

If you just read the book, you're taking in the narrative, you're taking in the characters, you're understanding it in a certain way. If you make a movie it's really an act of translation.

Almost all the movies I've directed are adaptations. And I think what I found when I went to film school, where they try to push you to find your voice or your thing, is that I got a lot of things out of adaptations.

The hair is really a way to push me even farther out of just what people know me for. I don't really know what people know me for.

You are successful if you are able to work on the kind of material that you want to - if your life conforms to your dreams, regardless of outside acceptance or acclaim.

There's art on the show that's really bad - these cliché Abstract Expressionist gestural things. It's almost like extensions of my performance, because in the scene I'm really mad.

He was so. So dirty, and just moving in front of me, and cute. I was in love with him, especially because he was talking to me.