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

I grew up with my grandfather [Elia Kazan] being famous in a way that's not like Beyoncé, but famous in a relative way. It made me feel weird about the way that we treat people that are famous, and it made me feel weird about fame in general.

What I did have was an incredible amount of belief in myself.

We all have our essential nature. If you're good with numbers, you don't even know you're good with numbers because that's how your mind works.

I feel lucky to receive such critical attention and praise when you're in a show that's going to last a month, it's just easier when audiences are more receptive. I've done two new shows this year, so I'm always excited to work on something a little older, traditional and structured.

In a way, you normalize your own childhood to yourself, so I never thought about how much I wrote as a kid. So I was there, confronted with it - so many notebooks, so many tiny plays. Every week we put on a play. We had a big futon, so my sister and I would use the futon as our stage, and I wrote little skits and made her faint because I found it so funny.