It's ginned up by the corporate plutocracy as a way of distracting the working-class people that it's screwing. We hamstring our own natural progressivism in this country, and that's really stupid.

All people are paradoxical. No one is easily reducible, so I like characters who have contradictory impulses or shades of ambiguity. It's fun, and it's fun because it's hard.

People think because I went to Yale that that implies privilege, and it is a privilege in the sense that it's an incredible opportunity.

Every little thing that people know about you as a person impedes your ability to achieve that kind of terrific suspension of disbelief that happens when an audience goes with an actor and character he's playing.

It's ginned up by the corporate plutocracy as a way of distracting the working-class people that it's screwing. We hamstring our own natural progressivism in this country, and that's really stupid.

You're always choosing the start point and the end point. And almost by definition, the most interesting period is where something happens, as a result of which something is different at the end. And so to me, the idea that you know everything about a character at the beginning is sort of ridiculous. Something has to be revealed. I like it when the deeper you go with the character, the more you see the layers start to peel away. It's more challenging to me, but it's also just interesting. Those are the things I like to watch. I like to watch the evolutions of something.

I don't think you should sit around and wait for people to give you an opportunity to express yourself or do your work, or whatever. Actors have to be producers and writers have to be producers.