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

I remember having to hit a mark and having no idea how to do it, real childlike stuff, because Carnegie Mellon didn't do an extensive job preparing us for film and television. It was very much a theater program. That was my first job. It was cool. I was glad it was.

I didn't get a chance to meet Glen [Beck] for this movie. I did meet him a few years ago, coincidentally, before any of this happened. But I've been familiar with his work, so I felt I wanted to get it right. I wanted to honor him. I respect him and I think the way he does his job is admirable. Yeah, there was an added incentive. I wouldn't call it pressure, but incentive perhaps.

Who's to say what would have happened if I had trusted my instincts and moved to New York like I thought I would.

J.C. [Chandor] was the kind of energy we were looking for, so we decided to get behind it with all of our effort. That was the beginning of our relationship with first-time feature directors, and that's when it became really important to us, watching them thrive and grow in a creative environment in which you can do that was really key. Also his work checked all the boxes, because it was socially relevant and intellectually driven, and creatively exciting.

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.

I probably get eight straight hours of acting in an entire season or two seasons of Suits. It's broken into such small pieces.