ALEX KARPOVSKY

My day-to-day local issues are rooted in an underlying fear of death.

'Rubberneck' has nothing to do with comedy, nor does it follow comedic people.

To feel nervous; to feel threatened and vulnerable and alive and engaged in that sense when interacting with someone you're really attracted to? I think that's wonderful. That's usually the best part. In fact, it's almost always downhill from there.

My favorite types of movies to watch as a viewer are thrillers - I really have a soft spot for them, I love them. Especially psychological thrillers.

I'm from Boston, and I get easily overwhelmed in New York, so I go to Boston and stay with my parents for a few months at a time to write, or edit, or just to cry.

What I try to do often when I'm acting and what I like when I'm seeing good acting is how authentic it is. How true is this to what I know of the world that's been created for me? The ultimate test for me is, like, if I heard a clip of it on the radio, I'd like the audience not to know if I'm acting.

I try to preserve whatever balance society has between public and personal life. I never try to eat on the subway. I never try to listen to loud music on the subway.

What I like in comedies are really two things: stories that are character-driven and stories that are rooted in authenticity.

Relationships are possible, but are definitely not a road paved with roses.

A lot of young people think they are not going to die - and that's a great thing about being a young person, is living in this carefree oblivion.

'Rubberneck' has nothing to do with comedy, nor does it follow comedic people.

My favorite types of movies to watch as a viewer are thrillers - I really have a soft spot for them, I love them. Especially psychological thrillers.

I'm from Boston, and I get easily overwhelmed in New York, so I go to Boston and stay with my parents for a few months at a time to write, or edit, or just to cry.

If you film a scene in a wide shot, especially a disturbing, distressing moment, I do feel like that helps you feel as though you're the room with these people, instead of cutting it up and getting close - which you wouldn't be doing if you were actually in a room with these people.

If I only acted, I feel like I wouldn't have enough creative expression over my own sensibility, and also if I only acted, the notion of surrendering my fate and future to other people is deeply unsettling to me and it would make me uncomfortable.

What I try to do often when I'm acting and what I like when I'm seeing good acting is how authentic it is. How true is this to what I know of the world that's been created for me? The ultimate test for me is, like, if I heard a clip of it on the radio, I'd like the audience not to know if I'm acting.

I like directing myself; I feel like it's one less person to give notes to. There's an efficiency in it. I'm also kind of a control freak. So I like the fact that it gives me more control in the overall picture.

To feel nervous; to feel threatened and vulnerable and alive and engaged in that sense when interacting with someone you're really attracted to? I think that's wonderful. That's usually the best part. In fact, it's almost always downhill from there.

I try to preserve whatever balance society has between public and personal life. I never try to eat on the subway. I never try to listen to loud music on the subway.

What I like in comedies are really two things: stories that are character-driven and stories that are rooted in authenticity.

My day-to-day local issues are rooted in an underlying fear of death.

Some people should have more levels of maturity than others, but you know to have a show that's grounded, tethered to reality, if you follow a group of people for six years and you show no maturity, I think that would be inaccurate.

Relationships are possible, but are definitely not a road paved with roses.

A lot of young people think they are not going to die - and that's a great thing about being a young person, is living in this carefree oblivion.

I do have commitment phobia, which I think is underlied by death anxiety. I feel that if you are in a relationship, there is a real genuine possibility of plateauing, and there is a possibility for a creative, emotional and spiritual death because of it. Only part of me feels this way, but it's enough to create an anxiety which makes me think twice before committing.

There's this biological association, when you do this movement, these things happen, and you're basically trying to rewire this 4-billion-year-old reflexive circuitry, which for me can be challenging if I don't really focus. It's the one of the few times as an actor where you are basically showing something with your body and your face that's completely different than what's going on in your mind.