I get really nervous, really anxious.

What appealed to me was that the focus of 'North Atlantic' was more about performance rather than emoting, because I was at a point in life where it was nice not to have to emote all over the place.

Poaching is a very complicated, multi-layered problem.

I grew up in Boston, and we'd have every Thanksgiving at my parents' house there.

With acting, there's a certain amount of independence you have within the framework of the storytelling. When it's done well, it's a collaborative medium.

I say I'm not a control freak and I don't like to be in charge. But on the other hand, I really don't like anyone telling me what to do. I have some authority issues.

I'm sure my desire to perform came, in part, from being around politics as a kid. My dad had a big personality, and a lot of the people involved in Boston politics have big personalities, so there were all kinds of wacky people around.

What I look for in theater, I really like new work, and I really like the concept of age not necessarily being a defining aspect of who you are or how you act.

'The Whole Truth' was a mistake.

I felt intimidated the entire time I was in school by my teachers and classmates. But I just knew acting was something I wanted to do.