I don't want to impose on anyone else and make anyone else emotional or anything. I tend to quietly cry, kind of turn away.

I saw so many kids 22, 19, with holes the size of a dime and they're dead. It's a gunshot and of course those kids thought they were as tough as nails, they never expected to be dead but they're gone. It's kinda nice to walk out of the County Coroner's Office with a couple of sayings, you know? "You're not so tough being dead on a morgue table."

I don't feel the pressure to deliver an unrealistically great man to the screen; I just want to be honest to who my character is on the page. If I can reflect that and put some heart into him and make him real, then I think I've done my job, and I think that people will like who he is.

How can you sustain life? [Dan] Fogelman is magic, and I think the other scripts of his that I've read for this show specifically are as beautiful as the pilot script [of This Is Us]. And he said it in a meeting [regarding the stillbirth of a child], "You can't kill a baby every week." But I think the idea that you can have these impactful moments that are as heightened as the loss of a child - it's life.

[Sylvester] Stallone and I were in a meeting for Rocky Balboa. We were laughing about something, and he looks at my mouth and says to the casting director, "Wow, your lip even hooks down like mine does." Then he looked at the casting director and nodded, and I guess that was the nod of saying, "Hire this kid." So yeah, I have a really crooked mouth. They don't work, but I can feel everything.

People forget that actors are actors, who are looking to put on the clothes and the character, and then shed it just as easily.

Sometimes I'm an ass, sometimes I'm sweet as peaches.