I love supporting emerging voices, and new writers and directors. I love engaging an audience in a way that doesn't have to involve me, personally, and yet still generates an experience for groups of people.

I think the next 50 years are going to present the human race with challenges that so far exceed the limitations of geopolitical boundaries or nationalist identity. We're going to be up against challenges that we can barely fathom at this point. So how we embrace them and deal with them will define a great many things about where we go, but, you know, it's hard to say. We're teetering on the edge, I would say.

Our society needs to recognize the unstoppable momentum toward unequivocal civil equality for every gay, lesbian, bisexual and transgendered citizen of this country.

I found it was remarkable. It was so evocative. I feel like it captured the urgency and the chaos, but through the silence of it, through the slowness of it. That's what I loved the most about Citizenfour.

Honestly, people told me to. It was weird, I graduated from school, I never thought I'd live in L.A. and I always wanted to be to New York. I assumed that would be my trajectory - that romantic ideal of moving there and doing plays Off-Broadway and being scrappy about it. Then we did a showcase in New York and a showcase in L.A., and for whatever reason the response that I generated in L.A. was significantly more enthusiastic.

I would say auditioning was my real training ground. The technical aspects - like hitting marks and pacing yourself and preparing and dealing with the downtime - the first recurring role I had on 24 was probably the way I learned that stuff.

I think it's like, you know, you can't get ahead of yourself, because no amount of success or exposure or opportunity is going to really matter or be ultimately fulfilling unless you can be totally present in what you're doing right now.