I was doing a play out in L.A. 20-some-odd years ago called 'Goose and Tomtom' by David Rabe, and somebody saw it and the next thing I know I'm doing the table read of the film version of 'Glengarry Glen Ross' with Al Pacino and Jack Lemmon - one of the great films of our generation.

I love my wife but sometimes not so much. Frustration and fights can muck up a good thing. And just when a thing can move past differences and into the realm of peace and prosperity, another thing - an old idea or new interpretation or any spark that relights the paradigms that comfort us - will keep us where we are, where it is safe.

I had been used to improvising and even in the audition I was feeling free to rearrange Aaron Sorkin words a little bit, as lovely as they were. I didn't find out until after I got the part how furious Aaron was at me for doing that. They said, "He was livid. He did everything in his power not to jump down your throat!" But I came to realise that Aaron was writing in metre and the rhythm of the language is very important.

I would love to be in the position where the role is challenging enough that I need three months to prepare for it and then six months to live the life of character.

It was tough doing 'Underneath the Lintel' in New Jersey in the wintertime, but rewarding. Those audiences were lively and interactive. On-stage was great, but off-stage was difficult.

I was doing a play out in L.A. 20-some-odd years ago called 'Goose and Tomtom' by David Rabe, and somebody saw it and the next thing I know I'm doing the table read of the film version of 'Glengarry Glen Ross' with Al Pacino and Jack Lemmon - one of the great films of our generation.

One of the great things about the old days of television, 10 years ago, or 15 years ago, was that it was water cooler television. People would communally watch the same hour. People used to tell us all the time, we turn off the phones, we put the kids to bed and that one hour is uninterrupted. Then, the next day at the water cooler, they all talk about it.