I feel like any actor should always be thinking about how to serve the story. The thing to be cautious of is trying to make too much of your "moment," or whatever. The story is a lot bigger than you, and you're there to help it along. The thing to think about is whether what you're doing is true to the moment and where the story's going, rather than going, "Here are my scenes. What can I try and do to make the most of them?"

I always like [while filming] to have a sense of what led this person to this point.

I'm pretty active, so I wasn't really worried [about filming "I Don't Feel at Home in This World Anymore" ]. But there was a day when I was like, "God, I've been rowing for two hours."

It's always nice for me to get to explore somebody who's feeling that and then does something with it and takes it in a different direction or does something with it. It feels very powerful. It helps me with my own.

There's a rhythm to script [ in "I Don't Feel at Home in This World Anymore"], as well, especially the pacing of it. But there definitely were times when I would say something and [ Macon Blair] would say, "I didn't think to deliver it like that" or, "I didn't think it had that meaning." And he'd say, "I like it. I think it's good." So he's open. He's not battering it into you.

I guess I have a strong constitution.

I'm not one of those people who can cry on cue. If I have to cry in an audition, I'm like, 'Okay, let me see what I can do.