I had to really learn what it meant to be on a set and what the expectations were and what producers are. I had to learn who I'm talking to and what their functions are. I had a couple of gaffes: I would ask a person a question, and it wasn't their job. I had to Google their job description. That was the first big adjustment.

I moved right to L.A., and I had a year of active unemployment. I had 50-something auditions for 50-something different projects, testing and doing callbacks, and could not get hired. And then, almost a year to the day of being out in L.A., I booked my first job, and then I started booking something every other month.

A few years after I graduated, I was doing a play in Boston and was asked to audition for Christophe Durang's play, 'Vonya and Sonia and Masha and Spike,' and I got the part. We were performing in Lincoln Center when, during our weekly meeting with producers, they that said they loved our show and wanted to take us to Broadway.

I think it's okay to be afraid, but it's not okay to let it rule your life.

Almost every business is regulated by the state. So if you're going to say, 'If you own any business, you shouldn't run for public office,' I don't think that's what we want.

My career means, if you're a non-Indian writing about Indians, at least there's one Indian in your rearview mirror.

I know certainly, when one job draws to a close, that I feel I'm simply never going to work again. No one will ever want me for anything ever again. I think that's a vulnerable moment in every actor's life, and it happens every time you finish a film.

In almost every profession - whether it's law or journalism, finance or medicine or academia or running a small business - people rely on confidential communications to do their jobs. We count on the space of trust that confidentiality provides. When someone breaches that trust, we are all worse off for it.