For me, anything I do is totally up for conversation and it's not my right to be able to stop a person from writing whatever they want. What's harmful and hurtful is when people speculate.

Keeping it real is the key and I don't know how they've done that week after week. I think the key is that everybody can sort of empathize with [The Office].

In a lot of relationships, when you're an adult, you realize that you've actually just been repeating a pattern. When someone breaks that pattern and it makes you realize what's right or wrong about the person. When you actually have to confront it, that's probably why a lot of adult relationships don't survive.

When you have two people that good in a movie, I think it adds a class and a feeling of importance for other actors that they want to be involved.

I'm a sap, I'll cry at anything. But I don't cry when I feel manipulated, or when there's a music cue telling me to.

I was extremely lucky to get this project [Brief Interviews with Hideous Men]. It was one of those things that I worked on in college. A friend of mine asked me to do a stage reading of that book and I was just completely blown away because, at that point, I was like, 'Acting's having fun with your friends and making people laugh.'

To be an actor and a director, I actually felt it helped me tremendously to be in the scenes of The Hollars, because as you can see, they're very intimate, very intense scenes. You don't want to break the actor's character and you don't want to break their momentum, so as the actor, I tried not to call cut as much as I could, and almost make it feel like a play, just set this environment where these amazing actors could do what they wanted to do.