You can make a beautiful, airtight world that's fascinating to look at, but it's not interesting unless you have a character that's trying to achieve something under the circumstances of that world. It's harder to play a wacky girlfriend whose journey you just don't understand.

I went to theater school, and if I spent time with one school of thought in this whole acting game, it's the Meisner approach of improvise-based acting. This does not mean that you improvise your acting, but that you focus on the other person.

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 went to Europe and, as I've been told, ate my way out of a career.

'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.

You can make a beautiful, airtight world that's fascinating to look at, but it's not interesting unless you have a character that's trying to achieve something under the circumstances of that world. It's harder to play a wacky girlfriend whose journey you just don't understand.

I've been really lucky that I've been exposed to a lot of lovely, talented people who are not jerks and I would like to continue that streak.