And so, in terms of setting the right tone and finding a way of presenting all of these things, that creates a cohesive whole and doesn't alienate the audience, is tough. That's a challenge. And I think the tone of a lot of shows is discovered through experimentation and actually making it. Eventually, it starts to cohere.

In the case of two actors connecting with each other and trusting each other, our bodies have memories without us having to consciously think about it, so rather than think, "Oh, I must think about my daughter dying," you just let that go and trust that you have all the emotions you need in there, and by losing yourself in the scene, that stuff kicks in without having to spend the day thinking about horrific things happening to your own child.

Well, I think tone is very important with this show [Masters of Sex] because there are certain elements or certain aspects to the show that may be reminiscent of other shows. But, it really is a very new kind of show, in terms of the subject matter and the way it's being dealt with, and the fact that it's about real people and real events.

I am prone to get carried away thinking about creative projects.

I try not to pay any attention to clothes fascism and I'd rather be thought of as someone who has his own sense of style.

Hopefully, any character I play has an anchor in reality.

I have a daughter, and fairies meant a lot to her growing up.