I loved auditioning because it was just an opportunity to act. Whether or not I got the job was the next hurdle, but the idea that I would get to act that day was the thing that excited me the most about it.
I found myself in a pattern of being attracted to people who were somehow unavailable, and what I realized was that I was protecting myself because I equate the idea of connection and love with trauma and death.
I would say auditioning was my real training ground. The technical aspects – like hitting marks and pacing yourself and preparing and dealing with the downtime – the first recurring role I had on 24 was probably the way I learned that stuff.
I changed all my passwords. I have no any two passwords that are the same for any service online. I have two-step verification enabled on all my devices…so yeah, I did take some extra steps that I hadn’t taken before being exposed to this world.
I think it’s like, you know, you can’t get ahead of yourself, because no amount of success or exposure or opportunity is going to really matter or be ultimately fulfilling unless you can be totally present in what you’re doing right now.
Heroes and Star Trek were 2006 and 2007, and I was just about to turn 30, and everything changed. I found myself on this amazing journey, which continues, but it’s now at a natural transition point. I’m reevaluating and reexamining how and where I go from here.
I knew I needed a partner. I needed someone who could focus on and spearhead the business side of things, and [Neal Dodson] was great at that. That’s how it started.
I’ve had some pretty stimulating conversations about where we are politically as a result of this movie [Snowden], but then there are a lot of questions just about that sensationalism of it.
Again, as a gay man I look at that and say there’s a hopelessness that surrounds it, but as a human being I look at it and say ‘Why? Where’s this disparity coming from, and why can’t we as a culture and society dig deeper to examine that?’ We’re terrified of facing ourselves.
There was no other concern; there was no other focus [in the Governor’s School]. It was simply there to learn and grow and perform, and that was pretty amazing and informative. I’d say that was a big pivotal moment for me.
When I got out of school, it used to be that it was theater actors that ended up doing film and television, and you had to come from the theater to be taken seriously in that world.
I only auditioned at four schools. I started performing and studying when I was in middle school, and then as I got into high school, it just got more serious. I feel like it became more of a vocation. It became clear to me at that point that I wanted to pursue it.
My return to the theater in New York was so specific. I didn’t want it to be about leveraging my exposure or my fame, so the first show I did in New York was an ensemble piece at an Off-Broadway theater, and I wanted to make sure that it was just about the play and about the experience.
I’m a big believer in the notion that our greatest potential lies in our darkest parts. To a certain extent it’s only in facing those parts of ourselves that we can truly grow, and I think that’s true of all of the characters I’ve played, certainly in the past few years.
I want to be working with directors who are at the top of their game. I want to be raising the bar for myself, and to me, the best way to do that is to prove to them that I’m the best for this job.
We are witnessing an enormous shift of collective consciousness throughout the world. We are at the precipice of great transformation within our culture and government.