I went to high school directly across the street from Carnegie Mellon, actually, and I knew people that were a couple of years older than me that went there. I was able to see shows in the drama department, and hang out there little bit, and it just felt like a natural progression. It was at the top of my list.

We [with Neal Dodson and Corey Moosa] were constantly looking for features and looking for ways to get involved with people who were making stuff.

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 think somewhere in the '90s, it started to shift, and you started to see a lot of film and television actors doing theater, and producers using the notoriety of the film and television actors to sell tickets.

Parents need to teach their children principles of respect and acceptance.

I think it's always good when you're able to, as an actor, allow your work to be some kind of a conduit for social discourse, and an examination of where we are, as a society.

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.