Maybe it's because it's connected to my childhood, or it's connected to the origins of what drove me creatively, but I feel like my life never makes more sense than when I'm in that process.

It's a very complicated landscape and I don't think there's one easy answer about it [Edard Snowden movie].

They're mounting a campaign right now with the ACLU and a lot of different organizations advocating for [Edward Snoden] pardoning before [Barack] Obama leaves office. Wouldn't it be incredible to see something like that happen? I don't know what we can expect. I am interested in the different points and perspectives that people have.

I just find that there's something about looking back on interviews, whether for purposes of remembering what I said about something or if it's for posterity when I'm 75.

While we were shooting the movie, we shot in the actual hotel in Hong Kong where it all went down, the Mira Hotel. Laura Poitras was coming to Hong Kong to do a screening of Citizenfour, and she ended up staying at the Mira Hotel. It was her first time back in Hong Kong, and I ran into her in the elevator. Literally I had just finished shooting one day, and I came back to the hotel and she was in the elevator.

We [with Neal Dodson and Corey Moosa] spent a lot of time writing, for lack of a better word, this manifesto about what we wanted to do. We wanted to find work that was relevant socially and that didn't take audiences for granted.

I was definitely an extroverted personality at a young age and theater was an outlet for me to channel that energy.