When you're younger you don't care so much, but as you get older you have a family and stuff like that. But I've always kept my foot in theatre and I've kept my foot in independent film, so I'm really happy going back and forth. So, if I can't find the meaty roles in studio films, then I'll go back and dig up a little independent where I can flex my muscles a little bit.

I think you have to pick and choose what is most important to tell the story.

I did have Skidz overalls. Remember Skidz, those baggy plaid pants that look like pajamas? So I did rock overalls, but not in purple velvet. I couldn't find those.

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.

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..."

For me, I always have to establish a reality for the character. In very actor-y terms, you just have to understand his reality.

I've always had good relationships with directors. I'm one of those people where, if there's a good idea coming from the sound guy, I'll take it. Filmmaking is a collaborative effort, whether it's a first-time director or it's Mike Nichols. I think that's the standard that the great ones set.