I found myself in a pattern of being attracted to people who were somehow unavailable, and what I realized was that I was protecting myself because I equate the idea of connection and love with trauma and death.

We did monologues and scenes, and New York I did a scene from Amadeus and a monologue from Pounding Nails in the Floor With My Forehead by Eric Bogosian, and then in L.A. I switched the scene to This is Our Youth and did the same monologue. I was spiky-haired, super skinny. A lot of people were like, "You should come here and do a sitcom." That was the feedback that I got. Obviously it was quite a different journey than the one I've actually had, but I just listened to people.

What we do with the information now is up to us, but certainly I have a lot of respect for the courage and integrity that was required for [Edard Snowden] to take that action.

There's nothing so freeing as going to rehearsal and having that experience.

We [with Neal Dodson and Corey Moosa] wanted to draw people in with a dialogue - whether it's a creative process or a social issue or innovation of some kind; whether it was how we told the stories or what stories we told. We produced some online videos.

I remember Zachary Quinto were just about to go and do So Notorious on VH1, and I was super unemployed, and I think we spent a lot of time talking about how we weren't particularly happy.

I listen to music a lot, if I need to get into a particular space. I do stretching and breathing, and take time to mostly be quiet and find the stillness. I think that's important.