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.
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.
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 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.
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 had just gotten Heroes, and I had just found out that I was going to be doing [Star] Trek, and I thought it was probably a good idea for me to create an infrastructure that would allow me to do my own work and put my stuff into the world.
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 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 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 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.
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.
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