One of the first roles I had on stage was with a brilliant director in a brilliant play with a brilliant cast, but I just couldn't find my way into the heart of the character. I found myself straining a lot. When it started. I felt lost. That was the Eugène Ionesco play Rhinoceros. I don't think I was prepared for that. I don't think I had the full tool kit to do it justice. It's a very difficult play, it's an extraordinarily difficult part, and I never felt I really got it right. Far from it. To a degree, Hamlet was the same.

I was the boy that turned a girlfriend into the most celebrated lesbian on television. I got so much stick for that.

I can’t stop traffic on Fifth Avenue, not unless I walk in front of an oncoming cab.

Honestly, it's very satisfying, and I'm very, very happy about how successful the last few years have been... It's great for the people who supported me early on to see the success I'm enjoying now.

[Scott Derrickson] is terrific, really sharp on the details, and he's not afraid to go to dark places.

People always want to knock you when you're up.

I always get self-conscious about what I look like in a film, but less so if I'm a character very far removed from who I am. Then I just worry about the performance, and that's equally an odd experience.