I moved to New York because I thrive there.
As actors, we do our best to keep things light and to encourage in the audience an openness to the changing atoms in the room.
Every day is a different day in New York; there's always something new going on.
The more living patterns there are in a place - a room, a building, or a town - the more it comes to life as an entirety, the more it glows, the more it has that self-maintaining fire which is the quality without a name.
The energy in New York is like no other.
A city whose living immediacy is so urgent that when I am in it I lose all sense of the past.
I thrive in places where there are different kinds of people and energies that can go into creating a very cosmopolitan kind of space.
I like to come into my workspace and feel it's a living environment and not frozen, which is why I often change or add to the pictures on the wall.
I've always tried to seek out environments with excitement.
There's such an energy bounding around New York, I can't help but get swept along in it.
The stage for our whole show is actually really interesting and a lot of fun. There's always something going on so we figure even the people who come up and don't know Big Time Rush love the show because there's always something going on, so that's what we love about it.
Growing up, I started to realize I was surrounded by people who were passionately alive. Seventh Street felt raw, but I found it incredibly theatrical.
