I just find that there's something about looking back on interviews, whether for purposes of remembering what I said about something or if it's for posterity when I'm 75.

We just have to have visibility. We have to have acknowledgement. We have to have accountability to how we treat one another.

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.

Maybe it's because it's connected to my childhood, or it's connected to the origins of what drove me creatively, but I feel like my life never makes more sense than when I'm in that process.

Every time I get on an airplane I have a routine. I cover the inside of my nostrils with anti-bacterial ointment. I'm popping Zicam like it's candy. And I drink, literally, from L.A. to New York, six bottles of water.

My first job was a show called The Others. I had, like, three lines. Julianne Nicholson was in it, and Gabriel [Macht]. I remember Gabriel wasn't there the day I was, but he sent a note, because he went to Carnegie Mellon as well, so we knew each other a little bit through that, and he was so sweet and generous. It was meant to be a recurring role that would evolve on the show, but the show only lasted a little while and I ended up only doing that one episode.

We [with Neal Dodson and Corey Moosa] spent a lot of time writing, for lack of a better word, this manifesto about what we wanted to do. We wanted to find work that was relevant socially and that didn't take audiences for granted.