It's just a matter of finding the styles, finding the fabrics, shapes, that accentuate your own body. You can't be altered, but the clothes can.

Theater is consistent. You ride your bike to work. You get most of the day off so you can see your kids. My problem is that after three months, I go mad. One of the reasons I never thought I could do a TV show is that I hate doing the same thing over and over again.

I have the kind of face that people want to punch.

When my grandpa was moved to physical action, you felt utter terror.

The worst bar fights I ever saw were in London. I saw a guy break a pint glass in another guy's face in a club in the Eighties. It was a gay club, too.

I remember finding 'Harold and Maude' strangely erotic. I've always had an octogenarian fetish.

It's finding time for each other. That's the trick to any relationship, you know. Finding time to really be present for each other.

The interesting thing about doing serial television is that the character is growing separate from you, the character and the show are growing, and you get to observe that and participate with it in a way that I think is actually really exciting for an actor.

My mother didn't let me see color films. I saw a lot of black-and-white films. The first time I saw Basil Rathbone, I was completely taken. To me, that was the epitome of great acting, was Basil Rathbone - not only in Sherlock Holmes, but the Sheriff of Nottingham, and all the terrible characters he had to play alongside Errol Flynn.

We have to remember to respect the faith of people and maybe not the organizations or the groups that manifest around it.

The guy who kind of broke the story in 'Spotlight' was a priest, the guy who had sort of done all the research. One of the things he said when one of the 'Spotlight' reporters asked him how he could still remain a Catholic, he said that, 'My faith is in the eternal, and the church is an organization.'

I was always curious about motivation and intention, and really, that's a lot of what acting is. I was a little bit different.

I'm terrible with big parties.

No offense to the Canadians, but I believe location is like a character, and authenticity really matters. When you're in a place like New York or D.C., you just can't beat it, and it's so hard to recreate because they are both such distinctive places. I think it's pretty easy these days to tell films that are shot in Toronto.

I had great teachers, great ensembles, and great companies to work with who supported my career.

I'm someone who started in the theater and really couldn't stand repeating the show. My favorite part of acting is the five or six weeks of rehearsal that you get. I like doing previews; I like the opening week because my friends and family come, and then after that, I don't want to do it anymore.

I think conflicted characters are always more interesting.

I went to school in Massachusetts at Hampshire College.

During 'Manchurian Candidate' - that role originated with Laurence Harvey, and I studied everything he did. I would never be able to reproduce that performance, but I got a lot of ideas from watching it.

You hear different things from different people, and they're all valid: they're all valuable. I think that's what comprises a performance is all those ideas.

Everyone says villains are thankless parts, but those are really the best roles.

My grandfather was raising me, and in many respects, I was trying to understand what it meant to be a man. He was my role model.

I really never thought I was that good at film. And honestly still don't. My strength is language. My background is monologues and a certain kind of Brechtian spin on theater.

I'm kind of an obsessive-compulsive person, like, neat obsessive.