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.

We are often too late with our brilliance. We are on time delay. The only instant gratification comes in the form of potato chips. The rest will find us by surprise somewhere down the road maybe as we sleep and dream of other things.

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.

Most actors, unless they're big movie stars and can carve out huge chunks of time to focus on one movie that takes six months - the rest of us have to jump around to make ends meet.

I wanna be in action movies, I wanna be the tough guy I wanna scare people.

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.

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.