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.

I had just gotten Heroes, and I had just found out that I was going to be doing [Star] Trek, and I thought it was probably a good idea for me to create an infrastructure that would allow me to do my own work and put my stuff into the world.

Our third partner [with Neal Dodson] was this other guy called Corey [Moosa], and he came in with good ideas and also some access to money, and so we joined forces and drew up a business plan and got financing for the beginnings of the company. We had no idea what we were doing really. We just started looking through material and started producing our own stuff.

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

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.

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 would love to be a voice in this maelstrom of chaos and obsessive celebrity infatuation that says, 'Let's talk about something that matters'.