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.

Surviving the grind of 18-hour days and getting up at four in the morning to work out for an hour so I'd have the energy to do it again the next day. I did not know I had that discipline. I did not know I had the discipline to learn a seven-page scene in three hours to shoot that day or the next day. I didn't know that I was capable of realizing that potential.

You had actors that came from live theatre and it felt like you're doing a play. Every time we did a three or four minute walk-and-talk in the West Wing, the exhilaration of going on stage would be a part of it.

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 remember the day Richard Nixon won in 1968. That was a time that seemed certain to bring about long awaited seismic change in America. But events of tragic proportion took us on a turn. Bobby Kennedy and Martin Luther King, Jr. were suddenly dead.

Every role is challenging in its own way, but the most challenging roles are the ones that are badly written - then it's completely up to you to come up with something that is interesting to the story and myself as an actor.

The political nonsense of network television and the culture of a set and all the problems that that can create, I can take. I can't take betraying the truth of what I'm doing. It cuts to the absolute core of everything that I do in the craft, in this world that I live in.