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.

I saw how vulnerable we all are and how exposed we all are and how this is an issue that affects everyone who owns a piece of technology. Which is certainly most people in this country.

We [with Neal Dodson and Corey Moosa] were constantly looking for features and looking for ways to get involved with people who were making stuff.

I love playing characters that go to extreme places, and I love to explore different kinds of psychological landscapes, so it is ultimately a kind of fun, but it's also complicated and colored by the depth of the nastiness of it, at certain times, as well.

We are witnessing an enormous shift of collective consciousness throughout the world. We are at the precipice of great transformation within our culture and government.

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

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.