One of best ways to enter and appreciate the original, prolific brain of Joseph Gordon-Levitt is through the lens of hitRECord, the open, collaborative production company he founded in 2005, and one of the most creative and inspiring uses of the Internet ever. Its nearly 100,000 members submit projects – films, stories, songs, drawings, you name it – for other members to edit, build on and evolve.

Gordon-Levitt credits directing short films on hitRECord with teaching him what he needed to know to make Don Jon, his first feature film as a writer, director and star. It was a darkly comic but ultimately hopeful tale about what happens when we become too connected to our devices, consuming people as things and communicating at versus with each other. His effort was rewarded with critical acclaim rare for actors who have the audacity to become auteurs; more importantly, audiences dug it. A lot of artists might find hitting it out of the park on their first time at bat daunting, but it just made him want to do more, and on a more collaborative level.

That’s because Gordon-Levitt has never been fond of one-way streets – not for communication, not for critiques, not for creating, and especially not for careers. He could’ve ambled down his own pretty easy and lucrative path after early childhood success in commercials, films and most famously, NBC’s hit sitcom 3^rd Rock from the Sun. Instead, he went to Columbia University, largely out of a desire to reclaim the feeling of “not knowing what I was going to be” – an open question for many college freshmen, but few actors who’ve worked steadily from the age of four. When he found himself roaming the streets of New York with a video camera, he knew a return to acting was inevitable, but he knew it would have to be in unexpected roles – not to make an artistic statement, but to prove to the business (and himself) that he didn’t have to be just one thing. When such roles weren’t immediately forthcoming, his restless creativity found an outlet in hitRECord. The roles he was seeking eventually surfaced in films like 500 Days of Summer, Brick, Inception and Mysterious Skin; and hitRECord projects began to take on momentum. Good times for someone who “gets off on the stuff I never anticipated would happen.”

He believes we should welcome versus dread the unexpected, that change is the most natural state, that good becomes great when we all participate and, as poignantly demonstrated by his late brother Dan, that “people can be whatever the hell they want to be.” All of which posits that the best artists are collaborators, and the best collaborators tend to have a stubborn optimistic streak.

Maybe it’s that enthusiasm (and a certain degree of DIY showmanship) that invests his performance as funambulist Philippe Petit in Robert Zemekis’ The Walk with such verve and authenticity. That, and his superior make-believe skills – a blank green screen is no match for a fertile imagination. In this issue, we talk to him about that film, the role of technology in modern life, what he’s learned from being on both sides of the camera, and his hopes for future of hitRECord. For those still unclear on that concept, tune in to our broadcast episode for Gordon-Levitt’s demonstration – and the musical results. Thanks, well,…everyone.