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'.

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.

The situation they [journalists and Edward Snowden] were in was incredibly heightened. The stakes were high. There was a lot of pressure, a lot of tension, a lot of sense of claustrophobic, clandestine energy that I think was exhilarating for us to explore and recreate. We were fortunate to shoot a fair amount of our stuff at the actual hotel where it all happened in Hong Kong. That added another element of very similitude to the situation, so I feel like it was exciting.

Our society needs to recognize the unstoppable momentum toward unequivocal civil equality for every gay, lesbian, bisexual and transgendered citizen of this country.

J.C. [Chandor] was the kind of energy we were looking for, so we decided to get behind it with all of our effort. That was the beginning of our relationship with first-time feature directors, and that's when it became really important to us, watching them thrive and grow in a creative environment in which you can do that was really key. Also his work checked all the boxes, because it was socially relevant and intellectually driven, and creatively exciting.

I don't really approach a character as to whether or not it's good or bad. I just approach a character as to where it lives in me.

I would say auditioning was my real training ground. The technical aspects - like hitting marks and pacing yourself and preparing and dealing with the downtime - the first recurring role I had on 24 was probably the way I learned that stuff.