It makes sense that it's so different from film and television, because it's so in-depth. As actors, when we're in film or television, we can have transcendent moments and we get to work with really creative and incredible people, but it's such a small percentage of your time that's about your process.

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're living in an increasingly nationalistic, xenophobic time, and you can see it reflected in societies all over the world.

I've had some pretty stimulating conversations about where we are politically as a result of this movie [Snowden], but then there are a lot of questions just about that sensationalism of it.

I don't immerse myself in the Internet chatter because it opens you up to a whole source of danger.

I remember [Patrick J. Adams] being in a particularly disillusioned place and really wanting your ambitions to be met with opportunity and not feeling like they were. It's all the more reason that I feel grateful to be able to stay connected and be in each other's lives. Obviously now you're in a very different place, and it's really nice to be able to look back on that and be reminded of how far we've come, at least in the opportunity aspect. The mental state aspect of it is a different story, I'm sure, but I always knew you would work.

If it was a biopic about Glenn Greenwald, I would have immersed myself more fully in his personal life and gotten to know him as much as I could, but because it was much more about his relationship to this particular situation, to The Guardian, to Laura Poitras, and to Ewen MacAskill, and Edward Snowden, I was able to really learn a lot about him from reading his book and reading his many articles and accounts of that time.