I think, now, younger generations do take that for granted in a lot of ways. I don’t think that takes away from the struggle of identity and what that is. But the struggle for identity is everybody’s struggle. No matter what it is.

When I walk into a screening, I’m nervous in a different way than I am as an actor. But the response is ultimately I know how I feel about it and that’s what matters to me the most.

I think you hear a lot of people say ‘I support the troops’ and all of that, but I really feel deeply that I do.

I don’t have a “I want to play this or that,” I just don’t have that. I’ve never been like that.

As much as I am one for real human interaction, I also want to make a show that’s entertaining and that people want to see.

Not to say that you should be constantly trying to change the world, but I think it’s important to know that whatever we do has an implication and has an effect, and because of that it is political.

There are standards. I like to be prepared, I guess I should say – that type of pressure of, “All right, now you go with abandon,” you know. Now when you’re in it, you let go of all the things – that’s what happens when you’re onstage.

I’m always nervous about it. You know, somehow, without even knowing it, I try and recreate the idea of what it feels like to go in front of an audience every night when I’m making a film. And that similar type of pressure and excitement before a scene, or preparing for a movie, so...

I didn’t know many classes where I could try and relate the thing that I really loved and wanted to do into an intellectual idea.

It’s funny to me that people find other people getting coffee really interesting, or walking their dog in the dog park.