There's a lot of reasons I had to move on. Family's definitely a big part of it. And the longevity of my career - I played for 15 years, and I was just tired of the whole international scene. It's quite busy. Very stressful.
I have a nationally distributed film whose pivotal scene is the ultrasound-guided abortion.
It's never really fun to have to cry in a scene or anything like that.
I'm drawn to scenes in movies where you just see characters turning off lights in a room or putting the groceries away; it's like, 'I understand that.' We all have to get ready for bed, and we all do it in a different way, and yet it's all strangely familiar and strangely human.
The world's a scene of changes, and to be constant, in nature were inconstancy.
With me, Bobby Fish, and Kyle O'Reilly, I know on-screen we are these brothers whose bond can't be broken, and we are this faction. I promise you, it's very real behind the scenes, too. I've known those guys for years. We travel together all the time; we talk every single day.
'American Honey' takes you into the feelings of a girl travelling through the United States while giddily in love. You see modern America through her intense feelings. But again and again the film pulls the rug out from under your feet - scenes never play out as you expect.
Obviously, 'Lincoln' is not about the telegraph operator. There's a whole other movie before and after the two isolated scenes that I'm in.
I was so obsessed with 'The Princess Bride.' I loved it so much that I even have a re-enactment I did of a radio play of the iocane powder scene.
When I walked in to read with Edie Falco, it was nice, because I auditioned in New York, and it was very quick. You walk in, there's Edie, the producers, the director, and a camera. I read three scenes, and it was done.
