Good live theater disturbs molecules. You create an energy source around yourself and it alternates between you and the audience. Anybody who sees live theater should come out a little rearranged.

People think that the ocean is big enough to sustain anything we throw at it - its hard to get into your head that it's actually finite.

I left the studio at 5:30 in the morning. It's an incredible mind exercise. You have to, obviously, have stamina, but you really feel like you're kind of feeding your mind. It's a challenge of learning lines very fast and then you have to be lose enough to hopefully make good choices in a much shorter amount of time that it takes to film certain scenes.

When I hear that somebody's difficult, I think, Oh, I can't wait to work with them.

And the writers are good in that it's easy to memorize, and good writing has an innate rhythm to it. And I've always felt that it's easier to get in your head than writing that has very kind of mind busting moments.

What's so fascinating about people is what they don't show. People are masters at it; usually actors show too much.

So you have the challenge of just learning the lines, period, and not only learning them, but learning them to the extent that you assimilate them, so that you're not worried about what the next word is coming out of your mouth when it comes to doing a scene. And you're also in the trenches with the writers, just in the wonderful kind of back and forth of how is it best to say something, even if it involves four or five words. I love that kind of thing.