I recognized that I had a window of opportunity that had opened because of my exposure as an actor.

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.

It feels that way when I'm doing a play, absolutely. On film and television, it's more complicated than that I think, and when you start to add the business into the mix, and the industry into the mix, it doesn't maintain it's purity. That's something that's inevitable and unavoidable, but that's why I try to do plays as much as I possibly can.

I went to high school directly across the street from Carnegie Mellon, actually, and I knew people that were a couple of years older than me that went there. I was able to see shows in the drama department, and hang out there little bit, and it just felt like a natural progression. It was at the top of my list.

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.

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.

I think somewhere in the '90s, it started to shift, and you started to see a lot of film and television actors doing theater, and producers using the notoriety of the film and television actors to sell tickets.