I always grew up around acting. I did commercials as a kid and all that kind of stuff and my oldest brother did theatre in High School. It's funny, when I was 15 I had a friend of mine who dragged me away to a camp at Boston University. It was the first time truthfully that acting didn't feel presentational; it felt very personal. I didn't just feel like I was singing and dancing for my friends in High School. It felt like I was doing a scene and all of a sudden I started to feeling something - I started to feel emotional.

It was always acting for me, since I was about 15. My middle brother always wanted to be a news anchor, so we always felt that he'd be the one to take over for dad, so we could go and do our thing.

Mike Nicholls saw me in the musical of The Full Monty and brought me in to audition for Angels in America for HBO. And that opened a lot of doors because you could go to LA and say: "Well, I'm starring opposite Al Pacino and Meryl Streep..."

You know, I gotta be honest. I have not done a lot of CGI work. I just haven't. I mean, there were hundreds of effects in Watchmen, and I probably dealt with almost none of them, because all my stuff was very practical.

When I look at a character, whether he's good or bad, one scene or 10 scenes, I just have to find my way in.

When you're playing the good guy, you want to find the dirty parts - and when you're playing the bad guy, you want to find the vulnerability.

Somebody can paint with a fine brush like Monet and do millions of little dots or somebody can splatter it up there like Kandinsky or Jackson Pollock and go "Yep, that's art." That's okay.