I very comprehensively studied Irving Thalberg and his biographies. He's who [Scott] Fitzgerald roughly modeled the character after. He worked for him, as a writer, when he was at MGM. And, of course, I revisited the novel and the politics of MGM and the studio system at the time and familiarized myself with the world. There was a great deal of physical and literary work that went into it.

I very comprehensively studied Irving Thalberg and his biographies. He's who [Scott] Fitzgerald roughly modeled the character after. He worked for him, as a writer, when he was at MGM. And, of course, I revisited the novel and the politics of MGM and the studio system at the time and familiarized myself with the world. There was a great deal of physical and literary work that went into it.

I at least felt the obligation to speak clearly [in 'The Last Tycoon']. This is pre-Brando and pre-James Dean. Nobody mumbled back then.

I like strong opinions - I'll take that any day over someone who agrees with everything.

I never feel more confident and comfortable than when I'm wearing a Tom Ford suit.

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.

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.