There wasn't space to mood-up. I think Rose Byrne was just extraordinary. Talk about a character that could be really unsympathetic at times. She just jumped in these scenes that go from anger to hysteria to crying to laughing and back to anger. I just marveled.

You have to take away the idea that something you do is right or wrong. I don't think there's a right or a wrong; I think there's an "it works" or "it doesn't work" for the whole. And that's why you need a director you trust, so you can just keep throwing out suggestions.

Somebody can be the captain of the ship, which allows you to make big mistakes.

I had school debt I had to pay off. Sometimes I would do commercials to get me through. And so I kept bumping along like that and learning different things. I knew I wanted to get out on my own. I was just super-curious, and I was a good listener. And that got me through.

It's not enough just to be in a panic. We don't have the luxury to be depressed about Trump. We have to look at issues like health care and the price of pharmaceuticals, the $15 minimum wage and things that actually make a huge difference in a lot of people's lives. That's feminist.

I'm kind of a nerd, so whenever I get a chance to talk to an artist I really admire, I tend to gravitate to process.

I think you have to ask yourself, what is the point of the script? What is the script selling? Because all scripts are political, every story is political. It either challenges or reinforces some schism or stereotype. So what is the project going to say at the end of the day? What does it tell you about the world, or what does it challenge in terms of your world?