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

When you really put your heart and soul into something, the temptation is to try to be in control of circumstances, however you can, and looking and seeing how people are responding.

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.

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’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.

I like not to know, unless it's something that I need to know, specifically, for how I color a performance.

I really saw Pat Brady, Kelsey Grammer's character's point of view that it's a business. It's show business. So, it was an incredible opportunity to work with really wonderful creatives and the script was fantastic. What was so interesting to me about the studio system was that a lot of the politics that were in play then are so really relevant to today.