We just have to have visibility. We have to have acknowledgement. We have to have accountability to how we treat one another.

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.

We did monologues and scenes, and New York I did a scene from Amadeus and a monologue from Pounding Nails in the Floor With My Forehead by Eric Bogosian, and then in L.A. I switched the scene to This is Our Youth and did the same monologue. I was spiky-haired, super skinny. A lot of people were like, "You should come here and do a sitcom." That was the feedback that I got. Obviously it was quite a different journey than the one I've actually had, but I just listened to people.

The play I did on Broadway a couple of seasons ago started out of town and it moved its way into New York because of the experience that we had out of town.

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

I like dreams. I think there's a lot of information in them. I spent a lot of time on Jungian analysis and dreams are an elemental part of that process. Carl Jung believed very much in the power archetypes in dreams, what dream imagery means, and how you can tie it into deeper self examination. It's a big part of the therapeutic process.

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.