I love learning language and ideas that I didn't know before and making them sound like my own.

That's the hard part of television: When you walk into the network tests, you're signing away seven years of your life.

That was the only trepidation I had about 'Will & Grace.' It had nothing to do with the sexuality of the character. It was more, 'This could be the next 7 to 10 years of my life.'

I think most actors go into the business thinking, 'I can play everything. Why can't I play a black woman? Just give me a chance.' Then you grow up and realize it's probably better that they cast an actual black woman.

The vote is the important thing. Just go and vote.

I've had to take roles that on purpose were not Will-like so that someone like 'The Hollywood Reporter' would write, 'McCormack shows great range; no Will Truman here.'

I'm an actor. I can't afford to have a type. I love to mix it up.

I haven't had a chance to play a quiet leading man in a while.

We see people talking to themselves all the time. We always have. Particularly if they're homeless people or at all questionable, there's a sense of, 'That guy's crazy!' I see that now with a much more empathetic eye.

Particularly in television, we can stereotype ourselves. You realize that we all have a lot of voices in our head. We have angry voices, we have voices of doubt, and we have moments of strength.

With these scripts and these writers, so much of it is done for me. Because we don't just throw words around: we make sure the audience understands.

I find that with every script I get, I go, 'Who knew this? This is so cool!'

Not a big sci-fi guy.

We're definitely hoping 'Travelers' attracts more than just solely the sci-fi audience, too. There are so many elements here. I think this will be a show that women like, because there's a lot of unlikely romance in it between people who were in love 300 years from now, but they're in different bodies.

On Netflix and other streaming services, they're taking risks that are based on 'Come with us! Come with us!' and the audience does.

Every day, there's something that makes you go, 'Is this Funny or Die?' That can't be a real headline.

This 'historical record' will exist, flawed as it is, in hundreds of years. What will that tell the future? How accurate are we reporting our lives?

I needed to start pulling at this other sort of funnier, lighter side. So I auditioned for everything. I auditioned for 'Friends,' even.

When I was 16, I'd ping pong between AC/DC and Barry Manilow without any sense of irony.

Show-wise, I love 'Little Shop' and 'Big River', 'Avenue Q,' and 'Spring Awakening'.

If we're karaoke-ing, I'm as likely to do Aerosmith as I am 'Sweeney Todd'.

Tom Cavanagh is fantastic.

I didn't want to do a lawyer. I didn't want to do forensics. I didn't want to work in an ER.

Putting my head on Ruth Buzzi's body - it's upsetting.

It's very strange - several years ago, I was in the running for the 'Young Frankenstein' musical. Kristin Chenoweth was going to do it, but then she backed out because she got 'Pushing Daisies' on TV, and then, the next day, I went in for my final-final audition, and I saw Megan Mullally standing there.

It's very, very hard to create something that is big these days because you have niche markets - and, you don't necessarily need to be big; the show is specifically created for a small group of people. You know, if it's on the USA network, well, then a small group of people is fine.

I always kind of dreamed locally - I never really ever dream that I would be south of the border; I dreamed about being a theatre star in Toronto, and maybe I'd do Stratford and regional stuff. I always thought it would be a slow growth.

I understudied Colm Feore quite a bit in '85 and '86 - 'Persephone' and 'The Boys from Syracuse,' too - and that was great, great training for me. He was and he is an amazing theatre actor.

My first job was at Baskin-Robbins. I made store manager at 16.

I could probably eat sushi every day.

I'm still mad at Josh Charles for dying on 'The Good Wife.'

I knew I wanted to be an actor in first grade.

I do love the stage, and that is incredibly rewarding.

If you can last long enough, in success, you have to get really creative and come up with new stuff.

I would come home with my friend Bill, and we would sit and watch 'Get Smart.' And I was Agent 44, and he was Agent 85. And it was a fantastic - and all we wanted to do was sleep with Barbara Feldon.

It's hard in this business to get the opportunities to show off range.

You're damned in success a little bit.

I think it's about finding the character you want to play and the people you want to work with.

Shelter dogs should be adopted into loving homes, not used in cruel experiments. That's why I support the Cruelty Free International global dog campaign.

Because I had three years on 'Perception,' I think I succeeded in showing I can do other things, and I can create a different audience, even from people who loved 'Will & Grace.'

I feel like 'Travelers' is something I can legitimately say, 'You're going to love this.' I think then people will accept me as a different thing. And if they don't, it's fun trying.

Monk's gone, and House is gone. Maybe I can pick up where they left off.

I have to challenge the audience.

I loved working with Cary Elwes, who is in 'The Princess Bride', one of my favorite films. He's a great guy.

It's a different world now. Guest-starring on a TV show is not some indication that things aren't going right anymore.

I did a film a couple years ago called 'Who Is Clark Rockefeller?' It was a role that I was really proud of that I wish more people could go back and rediscover.

I saw 'Othello' with Christopher Plummer and James Earl Jones.

My second year of Ryerson, I still lived at my folks' place. I went to the attic to find some prop for a play I was doing. And I found a scrapbook dedicated to my father's years at Ryerson as an actor. He never mentioned it.