For every role, I brought certain elements of the character. Even on White Collar over six years, I tried to keep the set fun and breezy and Howard Hawks-y and very of the tone of the show.

One of the many things I love about working with Ryan Murphy is that you're always thin-sliced in this business. You walk into a room and people want you to be how you look or how you're perceived or whatever it is in that 10 minutes that hey meet you. I think Ryan [Murphy] has an intuition that looks a little bit deeper and sees things that other people might not see in you - sometimes you might not even see in yourself - but that he knows are there and that he might want to get to grow and stretch with as an actor.

I look at a pilot and go, "I see the landscape. I see the characters. I see the direction and the potential of the story." And I also go, "That didn't work. I could change that. Maybe that works. I don't know. We'll see." For me, I look at it, as an actor, as what can I improve upon? So, to have it out there and judged solely on its own merit is really a unique experience for me.

Everybody thinks that equality comes from identifying people, and that's not where equality comes from.

Certainly when you're dealing with more deep emotional work and sensory work, for me it helps me to just stay in it.

I’ve been a con artist since I was 16 and trying to get my dad to buy me a car. I never succeeded, but I learnt a lot of tactics.

Anybody who is rude to anyone in the service industry is automatically out.