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.

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 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 will say they were horrified when I wanted to be an actor. It wasn't a showbiz-y family, and my parents are real introverts who don't go to a lot of Hollywood parties and are most comfortable in their pajamas in our sweet little home. Part of the reason I wanted to be an actor and not just a writer is because I felt much more extroverted than that - I love to be around people, and feed off people's energy, and collaborations. If I hadn't had their example, I wouldn't have been so serious, but I also wouldn't have wanted so much to find another creative outlet.

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.

Too often in the theatre people can't wait for intermission to get some chocolate or something. But with Come Back, Little Sheba I just hope people leave feeling like they've spent a really good two-hours in that house with us.