I feel like that [the role in Star Trek] is a prime example of, yeah, I got that role and it was awesome, because it changed a lot for me professionally, but then creatively, it became a whole other thing, with J.J. [Abrams] and Chris [Pine] and the people I got to know. Now I just feel like it's our jobs to be open and to keep moving stuff forward. I don't know what that means. This is the first time in a long time that I have no idea what's happening next. As scary as that is, and as anxiety-provoking as that can still be, it's also really exciting.

My return to the theater in New York was so specific. I didn't want it to be about leveraging my exposure or my fame, so the first show I did in New York was an ensemble piece at an Off-Broadway theater, and I wanted to make sure that it was just about the play and about the experience.

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

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

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.

My dad died when I was a kid, so I think it became a place for me to go where my mom knew that I was safe and taken care of and looked after.

I knew I needed a partner. I needed someone who could focus on and spearhead the business side of things, and [Neal Dodson] was great at that. That's how it started.