I find playwriting to be incredibly difficult compared to screenwriting. Part of it is that I grew up watching movies and not watching plays.

I'm definitely feeling whatever's going on pretty hard. It's like playing Barbies. You're holding the Barbies, but all of the action is happening inside of your head. You might be holding them or even speaking out loud, but really, all of the animation is internal. That's sort of how I feel about my writing. And then the really awful thing is that at the end of the day after crying and experiencing things, then you look at what you've written and you're like, "Hmm, there's half a page that's good here." Then you throw out everything else.

I've worked with a lot of really famous people. It stops being weird really quickly. For me, at least.

If I was born into a household with anxiety about money, I wouldn't have had as much freedom to be in my own world. So it's impossible for me to divorce the privilege of my childhood from the other things.

I've definitely gotten to work with female directors, and I feel lucky because of that. I just feel like more voices should be represented.

There are a lot of words that I knew first as a reader, and I never put the pieces together in my brain. The word segue I thought was pronounced "seeg," I think until I went to college, which is horribly embarrassing.

I have a lot more writing experience than Paul Dano has, so to be able to put that experience to use in exercising his vision was almost an acting exercise: How would I write if I were Paul? When I look at it, it feels so completely his, but it's also mine.