Things happen to us and reaction is sometimes tough to measure.

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.

It seems not to matter that we are at the brink of a war that may spread beyond Afghanistan and Iraq to Iran and Georgia and then where? To Syria? To North Korea? To China? That we in America are in economic doldrums and are seeing small businesses fold and houses reclaimed by banks and a smouldering panic that is palpable everywhere.

Families are like puzzles. They fit together in a certain way, and if one piece is missing, it throws everything off.

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.

Playing a TV character for seven years is almost like when you do a play. You live, breathe, and everything else with that character 24-7 for six months or four months or whatever, and that gets very deep in your blood. When you do a TV character for seven years, that's a long time. It becomes a seminal era in your life.