I did an Off-Broadway show that was a comedy written by Ann Meara. We were like a family, and we did that show for a year. On Oz, I did feel like the cast members were friends and there was a lot of bonding. That said, there was a lot of testosterone. Once again, it was full of really intense theater actors with this writing that was really intricate and subtle.

A very odd thing happened to my career when I got The Wire. My career was pretty much a steady climb; I didn't really flatline much. When I did The Wire, that's when I thought all the doors would open, but that's when things flatlined. I had a really hard time just getting seen for film, which was the next step.

I can only speak as an American, but most journalism here isn't doing its job any more. It's about selling stuff.

Sometimes you have to say, "No. This is my space." If you're going to come at me, come at me respectfully, and I will respond respectfully.

What's interesting is, most of the people who are fans of the The Wire who black people or cops... most of the people in the industry are the crew: writers, actors and directors. And so they understand what it is that we do, so they think, "Wow, what a incredible group of amazing actors." It's funny, I think there are a couple of reasons why we have never gotten any nomination for anything except for writing.

It's funny, 90 percent of what I've done has been television, and I never really wanted to do it that much. I was really interested in film and theater. What's ironic is that when I started doing television, I did a bunch of amazing shows all in a row, starting with The Corner.

If you're going to come at me, come at me respectfully, and I will respond respectfully.