With me, growing up in a theater family and having them be so supportive, from the jump, and being a part of this theater community where the brass ring is working, wherever that is, and then to play a character where he's not really concerned with that and is really just concerned with the monetary aspect of the job, and then to be identified with someone who is the antithesis of your energy and where you come from, has been a very interesting and surreal ride.

I never made more than $50 doing any play in Chicago. That was the way I grew up.

I'm one of these people who would rather show you than tell you through the performance.

You're trying to figure out a way to go back in time and spend more time with your father. Who wouldn't want to do that?

You can't make people who you want them to be. That was a hard lesson for me.

I'm not a boy now. I'm a man, I hope. I hope I've had my artistic bar mitzvah somewhere.

When you do a television show in the States, you get the pilot, and then it's the great unknown. That's the way it is. It's this great leap of faith. It's the Russian roulette of art.