If you want a film and they don't want you, sometimes you have to go fight for it. Sometimes that ends up just being a meeting really, just sitting down with them and just saying here is my vision for it and here is why I really love it. But for the most part, I think filmmakers gravitate towards people that are excited - as excited as they are about the film and as passionate about it. So sometimes going after it isn't so much a function of auditioning as it is just sitting down with the filmmaker.

That was my earliest maladaptive coping mechanism I forged when I was a kid. I found that my fists weren't going to do any significant protective work for me, so my mouth was it. Making my father laugh was a way to control him.

When you're growing up in a family without a lot of money and four boys, it can't always be, 'Let's go see a specialist, see if you're okay.' If you got hurt, you just walked it off.

Everybody thinks it's glamorous and this spy versus spy stuff is so exciting, but working in that industry and being a CIA operative, like a field officer, is tough. That's a difficult job that usually dismantles their lives in some capacity.

I did as much as I could in Vancouver. You can only play so many ex-'Falcon Crest' sons in so many movies of the week before you burn out.

When I was younger, I was reticent to be vulnerable on camera and everything I was doing was just a really finely honed defense mechanism from when I was a kid, and I was now using this to make a living on camera.

I'm not one of those actors who romanticizes his trials working out and brags that he can bench press a panda now.