So often you're asked to play impossibly perfect version of yourself on screen that it's nice to get to bring in those parts that you think aren't as worth looking at.

I was a vegetarian for a really long time, from 7 to 23, so I feel like some things aren't that weird but they seem weird to me, like blood sausage or snails. Those are things I've eaten now that, years ago, it would have been totally improbable that I would have eaten.

When I'm writing, I look like a fool because the parts are moving through me and I'm crying and laughing and making faces.

Half the fun is getting to play dress-up and imagine what it's like to be this other person. If you're not excited about a part where you get to use your imagination, then what's the point in doing it? It'll be just another job. Also, Director Michael Pressman and I see eye-to-eye with Marie.

I find playwriting really painful. I love it, or I wouldn't do it, but I don't love the theater as much as I love movies.

I've always really been interested in the Pygmalion myth and both what it has to say about creativity and what it has to say about relationships between men and women. I'd been thinking about what I would want to do with that if I was going to write on that theme, and one morning I woke up and Calvin and Ruby Sparks were in my head.

In New York you can just walk out and be among people. You're on the subway among people, you go to cafes, you can talk to people.