I had to learn how to modulate my performances and interpretations of these roles in auditions for the camera.

I saw how vulnerable we all are and how exposed we all are and how this is an issue that affects everyone who owns a piece of technology. Which is certainly most people in this country.

I recognized that I had a window of opportunity that had opened because of my exposure as an actor.

It certainly woke me up to how vulnerable we all are. I think I was much more cavalier about it before I started working on the movie [Edward Snowden], and then the more I read the documents themselves and saw just how sweeping and indiscriminate the intrusions into our privacy have been, it made me more aware.

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'.

I found it was remarkable. It was so evocative. I feel like it captured the urgency and the chaos, but through the silence of it, through the slowness of it. That's what I loved the most about Citizenfour.

It makes sense that it's so different from film and television, because it's so in-depth. As actors, when we're in film or television, we can have transcendent moments and we get to work with really creative and incredible people, but it's such a small percentage of your time that's about your process.