Sometimes the scene is a sad scene but you have to play it with a laugh to find out that that doesn't work or that there's really a part of that in it, and that's what rehearsal is for, to take that time.

"Prison Break" has been a really great experience because of the writers. I think that in television, you can have great directors, really good actors, but if it's not on the page... I think a series lives and dies in writing.

I like to find characters. Here's the bottom line: I can't play someone if I can't figure out what he cares about. Everybody cares about something, even a rough character. It defines where we step in life. As soon as you find out what somebody cares about, then it all gets real.

Go is one of my favorite things that I ever did. Not that I critique myself, but sometimes I'll be passing by the television, and I'll say, "Meh, maybe I would have done that a little different." I can't help [but] do that. But Go was one of those things - I really loved working with Doug Liman. Detective Burke in Go is one of those roles that's about everything I like to do. I love parts like that. And Go seems to be the thing that rolled it all into one.

As much as I moved to New York and tried to work in theater as much as I could - I developed a relationship with Circle Rep - make no mistake about it, I really, really wanted to be in a film. It seemed like almost everyone I knew at least did something in a movie, except me.

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.

Whether it's one scene or 15 scenes in a film, whether it's the lead or a cameo part, if I don't find it interesting, I tend not to do it. You never really know what it is. It could be a one-scene part. I remember I read the one scene in Crash and was asked to do it. I was like, "Absolutely!" There's no formula for how something has to be. I always try to keep it that way.