For a long time I was cautious of working with my parents because I wanted to feel separate from them in the community. Now there's no more wasting time.

To get to go from stage to set and back, it keeps you feeling very present, and I think that's always such a wonderful thing in your work because you don't really have time to be as neurotic as I might become.

I know it's such a boring interview sometimes with us at 'American Horror Story', but I just can't say a word. I would certainly love to be back, that's for sure. It's such a great job.

So, for the most part, I really like when I read a scene that scares me and makes me sweat a little bit, thinking about doing it. That's usually a good sign to me.

I had never done a 90-minute play with no intermission, so it is a bit like you get onto the train and you don't get off until it's over - and it's over very quickly, so don't miss a moment of it. That experience is very rare and specific so don't miss a minute, because there aren't very many minutes of it.

I think every script I read has something that sends me into a state of panic but that usually makes me want to do it.

It's very hard when you're doing a new play that you believe in, and you want to tell the story in the best way possible.