I've been lucky to work consistently on women who I think are interesting, fleshed out, and strong and active participants in their destiny.

I'm not a runner, and I always dreamed about just throwing on my sneakers and really knocking everyone's socks off with my joy of traversing the world by foot.

'Breathe In' was such a big deal for me. It was my first anything. Before that, I was going through 'Backstage Magazine' and applying for student films.

When I was younger, I wanted to guard myself against criticism, so I did so much more work than was needed. Now, though, it's sometimes better to understand something intuitively than have to dig your way into a character.

As a viewer, I'm personally less interested in the damaged, white, middle-class male figuring out his dreams and more interested in maybe an underdog figuring out how they're going to survive in a world that doesn't necessarily invite them in.

It was really unusual to go from being in university for four years to all of a sudden acting every day. I'd never been able to do it exclusively like that. It was always sort of like my secret thing that I did privately.

I feel really comfortable when the camera is rolling. I feel less comfortable in the moments before and after, like, "Okay, where do I sit now?" I find the social aspect of being on a project ... it's just a lot. There are so many new people, and it's a lot of introducing the most charming, most engaging, funniest version of yourself to, essentially, a bunch of strangers you already know too many details about.