I went from doing something that was very original, sort of subversive, and specific in its voice - The Grinder - and loved every minute of it, but having done that, I was anxious to do something that had more broad appeal and to embrace the good things about that.

People are human. There's such a premium today on being perfect. That's just not the way people are.

David Mamet, Tim Kazurinsky, and Denise DeClue, who adapted [ About Last Night]. Between the three of them... I mean, it's always down to the writing. You're only as good as your writing.

The fact is, I have a great home and I like to have people come up. I meet enough people just doing my grocery shopping; I don't need to go out and meet any more people.

I kind of pride myself on coming onto things that are well-oiled machines and finding a way to bring what I bring and fit in, and raise it to another level if I can. And this [Code Black ] has been another one of those really fun success stories, much like Parks And Recreation, although obviously on the other side of the comedy/drama equation.

The '80s were about trying to establish myself as an actor with a career. And being a teenager enjoying the fruits of being successful with lots of what I think is appropriate for that age.

I’ve never agreed with the conventional wisdom that ‘actors are great liars.’ If more people understood the acting process, the goals of good actors, the conventional wisdom would be ‘actors are terrible liars,’ because only bad actors lie on the job. The good ones hate fakery and avoid manufactured emotion at all costs. Any script is enough of a lie anyway. (What experience does any actor have with flying a spacecraft? Killing someone?) What’s called for, what actors are hired for, is to bring reality to the arbitrary.