When you're a young actor you like to go for characters with a bit of flair, so in many films I ended up playing the weirdos. But I can assure you I'm not a psycho or a criminal or a bully.

There are very few films that I've ever seen in my life that would be as silent or vacant as something like Jeremiah Johnson, and that to me was unbelievably captivating. You can see the same about [The Outlaw] Josey Wales: there's very little dialogue, and yet it contains such a deep, rich story. I've always thought of the western as American storytelling at its best.

I'm a huge fan of Canadian rock-and-roll. When I was growing up, Rush came out with a record called Hemispheres, and I must have listened to that record for two years straight. Even when I was asleep I had it on. So, yeah, whenever I hear a Rush tune, the first thing I think of is Toronto.

I think just in general there's a bunch of films that mattered to me that didn't reach their potential, and on some level you have to assume responsibility for that. And I think over the years that gets difficult.

Some people think it's because '24' was jump-started by what happened on 9/11. That was never why we made the show. We started production six months prior to 9/11, and we'd already done ten episodes.

I liked the ceremony, the ritual of preparing cocaine, as much as doing it. I did it for a year, loved it, then stopped. Now I feel the same way about cooking.

I've always thought of the western as American storytelling at its best.