My day-to-day local issues are rooted in an underlying fear of death.
If you film a scene in a wide shot, especially a disturbing, distressing moment, I do feel like that helps you feel as though you're the room with these people, instead of cutting it up and getting close - which you wouldn't be doing if you were actually in a room with these people.
I try to preserve whatever balance society has between public and personal life. I never try to eat on the subway. I never try to listen to loud music on the subway.
I do have commitment phobia, which I think is underlied by death anxiety. I feel that if you are in a relationship, there is a real genuine possibility of plateauing, and there is a possibility for a creative, emotional and spiritual death because of it. Only part of me feels this way, but it's enough to create an anxiety which makes me think twice before committing.
Some people should have more levels of maturity than others, but you know to have a show that's grounded, tethered to reality, if you follow a group of people for six years and you show no maturity, I think that would be inaccurate.
A lot of young people think they are not going to die - and that's a great thing about being a young person, is living in this carefree oblivion.
There's this biological association, when you do this movement, these things happen, and you're basically trying to rewire this 4-billion-year-old reflexive circuitry, which for me can be challenging if I don't really focus. It's the one of the few times as an actor where you are basically showing something with your body and your face that's completely different than what's going on in your mind.
Relationships are possible, but are definitely not a road paved with roses.
Im from Boston, and I get easily overwhelmed in New York, so I go to Boston and stay with my parents for a few months at a time to write, or edit, or just to cry.
What I like in comedies are really two things: stories that are character-driven and stories that are rooted in authenticity.
