We worked on The Perfect Storm, and I'll never forget, Wolfgang Petersen would talk about a moment. Like a non-speaking moment, where we'd all be sitting around eating dinner, and it would probably last maybe four seconds on screen. But he would sit there and talk about it for about 10 minutes. He knew what piece of the puzzle that scene would be, and if it were six seconds, it would be too long. If it were three seconds, it wouldn't be enough. I'm always turned on with people's enthusiasm like that.

When I was younger, I never wanted to rehearse because I thought that someone would figure out I don't know what I'm doing.

The greatest joy in getting ready for the film is that there aren't many reference points for the journey and you've got to define it for yourself.

I really dig the writers, and I think they challenged me for the most part throughout the journey on the show. If you don't challenge me in a series sort of situation, boy, I couldn't be on it long.

I think that there's no doubt that to work in film is a bit more of a creative journey. It's not that I don't put the same time or heart into something that's on television.

We worked on The Perfect Storm, and I'll never forget, Wolfgang Petersen would talk about a moment. Like a non-speaking moment, where we'd all be sitting around eating dinner, and it would probably last maybe four seconds on screen. But he would sit there and talk about it for about 10 minutes. He knew what piece of the puzzle that scene would be, and if it were six seconds, it would be too long. If it were three seconds, it wouldn't be enough. I'm always turned on with people's enthusiasm like that.

I like to really spend the time and figure it out and rehearsal is to try something that doesn't work. It's hard to do that, because you always want to go with your impulse thought and you wonder if that's the one, did that work, you know?