I think your text [script] is everything; it's what informs you; it's what gives you the given circumstances. Then you take that and you add your own creativity and your own spin on things and you make it personal. That's what makes that character and that text unique to you, when you personalize it. I think that's where your job as an actor comes in.

To me, when you're at a hotel and your home environment is ultimately dictated by somebody else, I always find that a little bit oppressive and scary in a way.

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.

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.

The best experience for me at CMU was being on stage so much, getting that comfort ability and learning that technique you can use with any type of work because you’re comfortable with it and know your skill as an actor.

I think Billy Ray has a lot of great stories up his sleeve. I've heard a lot of his plans for the show, should it go forward, and I think there's a lot in store for people, if it's given a chance.

What is ultimately motivating the character?