I think you fall out of love with theater while you're doing your eighth show of your eighteenth week and your body is saying, "Please make this end."

I've always felt kind of safe on stage, protected. I've talked to other performers about this and they feel the same things, particularly in the live arena. I never get nervous going on stage to do a play. Doing film or television I'll have more butterflies.

I try not to think retrospectively. It's important, as an artist, to look forward, always. I do try to take work that involves some challenge. If you approach a piece of work and you're going, "Yeah, yeah, I can do that," then that's kind of a red flag.

I think audiences are a lot more intelligent than what we give them credit for and understand that an actor is playing a role and that doesn't mean he can't play different types of roles.

At the moment I'm doing this space movie, so I'm obsessed with physics and space travel. I know three months down the line it's gone. Then I'll be able to superficially say stuff about space.

It was very much about performances, the whole ensemble thing was just great - everybody working together. Sometimes it didn't feel like a film set. It wasn't technically driven, it was very, very enjoyable

But television affords you, what you just described, to - over the course of 18 hours, now that we're doing a third season - tell the story of this man. You're not under any obligation, really, to do massive expositional stuff at the beginning. You're at liberty to say, "Come with us on this journey," and, gradually, you become aware of what his motivations are, what drives him, what his weaknesses are, what his strengths are. That's what I think's sucking people into these worlds, because it is kind of like a novel, you just go really, really deep.