With While You Were Sleeping, it was so much fun and such a Cinderella story, that I didn't want to do another romantic comedy. I wanted to do the opposite.

Rural towns aren't always idyllic. It's easy to feel trapped and be aware of social hypocrisy.

There was an idea of accepting everyone; there was no sense of exclusion.

I was brought up in a very small town in upstate New York.

Truthfully, I almost avoided 'While You Were Sleeping,' because I find those romantic comedies kind of precious, and they're full of lines that leave you feeling a little bewildered when you say them.

I do take lots of time off between projects, but when the right thing comes along, I don't like to turn it down, I've been doing this for a decade, and I remember what it was like when I started. You spend maybe five percent of your time actually doing it, and the rest of the time, you're trying to get that five percent.

Theater has always been most important to my psyche.

I like those crisis moments - if you're on top of it and don't get pulled under by panic and fear, it's a very bonding thing.

I also turn down what's probably a good amount of coinage to be made out of playing dads, an incredible number of obnoxious dad.

There's a point you get to on the stage where you're not remembering lines but living them, and you reach this pure moment which, really, is more intense than what you can achieve in life.

There's definitely a pattern of great British shows that get reinvented in America and do really well here, but I think 'Torchwood' is a bit different. It's more of a hybrid that doesn't exist as a reinvention.

I co-own the ranch with my brother, and he and his wife are really the backbone of the operation.

I was 21, and rehearsing a play, took a fall and was in a coma for a few days. And when I recovered, I'd lost my sense of smell completely.

Well, I can do certain jobs because smells don't bother me. But that means I'm usually the one at the ranch cleaning up all the manure.

I wake up as soon as it gets light.

I love to prune. I have a physical need to do things.

I'm not the first one to say it, but that time onstage is a heightened sense of present tense.

Globalisation is happening so fast it's confusing for people, and tolerance is threatened.

We've seen with Brexit and other things that there's a dark impulse to be petulant and frustrated with complicated solutions.

The chaos of my life has a lot to do with my hair.

I enjoy that with theater, you can just go into a room with a paper bag lunch: there're no cables, no electricity. It's the purest experience.

I always loved asking everybody when I arrived in England, from the drivers who picked me up to the people at the hotel to people I met when I was walking in the park, almost everyone at some point would say, 'Everyone loves Ant & Dec!' From eight to 80.

I always feel like there are a lot of different types of favourites. There are some that I look to for interesting things, some that I look to for acting things, others that I watch again and again.

'Zabriskie Point' was a time when I was in a lot of change and flux, and these incredible visuals hit me like they had rearranged the organs in my body. The ending and the free-floating debris and everything is an image that burned itself in my consciousness.

As an actor, you're continually riding the waves of whether you're in or out, getting work or not getting work, and Kazan was really a guy who was condemned into not working and looking to go deep into someplace and just live inside his art.

I want to be scary, boring, philosophical, funny, touching.

I've always been what they call a late bloomer.

I was the kid who would join a sports team and be the biggest liability at first and a star player by the time the game got going. I just move very slowly.

Growing things and being able to live off the land has always appealed to me.

This whole climate change and what it's doing to our environment is frightening to people.

There's something about Warren Wilson. You can gain a lot of very important things and skills that you carry over into whatever you decide to do.

I've never really been a television watcher and watched comedies, and I have gotten a number of invitations to be on television as the dad.

The first Westerns I saw as a child were those little 8-mm. home movies put out by Castle Films.

My family and I are hooked on 'The Searchers.' I can't get enough of it.

If you are in an Edward Albee play, you say Edward Albee is the greatest playwright of all time... If you're in an Israel Horovitz play, you say Israel Horovitz is the greatest playwright of all time.

I think, when I'm 73, I'm going to be getting softer, writing Hallmark cards, losing my teeth.

Othello is someone who's just had a victory, and it's the aftermath of coming back and attempting to live comfortably as a civilian.

It's astounding how challenging plays are... The scary part is that you get to encounter humanity in a way you don't in films. The audience amplifies the experience.

I never imagined myself in films. My benchmarks were performances I saw in the theater.

If I were born in the 1700s, I would look like a rounded man.

I think I was born out of my time.

I don't like this instinct of reality television to wear your lifestyle in public. I've really always loved the anonymity of things.

I always come back to acting.

I hate to admit it, because it makes me sound weird, but I'm Mr. Shoes. I own over 30 pairs.

Some of the shoes I have are from movies - I have my workman's boots from 'While You Were Sleeping' - while others are shoes I've had forever.

I like to wear my dad's shoes to auditions as sort of a lucky thing. I feel like I'm on solid ground.

I'm a very discriminating shoe shopper. I only look for something special. In fact, I don't think I've ever bought two pairs at the same time.

'The Virginian' has a very important romantic story line that you don't find in a lot of Westerns... At the heart of the story is quite a bit of pain and a sense of loss.

The idea of taking classic American stories and reinterpreting them for a time and place is not just commercially viable. These stories also carry a sensual nature of what it meant to be an American, and they deserve to be reinterpreted.

There's something that comes into you that's so exciting when you're directing.