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With the long-format interview, I can get into really interesting conversations with my guests. You know what it's like to get the opportunity to speak to really interesting people and pick their brain about things. To have time to let a guest actually speak and tell a story and get into detail is really exciting.
My friend's granddad died of prostate cancer and it had a profound effect on me. So when I was presented with the opportunity to speak out, I had to take it. This is a life threatening issue for men, it happens every day. The more you know the better your chances are of dealing with it if the worst were to happen.
I think we're on the wrong path in this country and have been for a while. People are in their camps divided by region, economic situation, race, religion, ideology. And there's a lot of just staying in your camp using technology to bolster your case without actually debating with other people, without discussing.
Every actor has their own process. For me, I really need to stay in the pocket. So, if I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.
I had a '69 Road Runner when I was a kid. I had it for 13 days, came home one day, and my parents were in the driveway. They said, 'Meet the new owner,' because they'd gotten phone calls about me burning rubber for the last 12 days. They thought I'd wrap it around a tree, and it was too much car for a 16 year old.
What have I done? I've blundered my way through life. So I have my picture on the wall. The minute I die, that picture will start to yellow and fade and eventually be gone. Blown in the wind and become part of the molecular structure of something else. These things we see as "success," they're non-accomplishments.
The thing is, when you put a button in someone's hand and give them the power of yes or no, no is a shorter word. People just say no. The power lies in who can say no the most. But, real power, though, lies in the opportunity to say yes. I think people ultimately realize that, but not when they're in the spotlight.
It's about how you exist as a person in the world, and the idea that your work is more important than you as a person is a horrible, horrible message. I always think about a little gay boy in Wisconsin or a little lesbian in Arkansas seeing someone like me, and if I cannot be open in my life, how on earth can they?
I had a great high-school experience. I had a lot of friends that I'm still really good friends with, but there's always times where a group can't understand what the individual is experiencing, or you're going through something at home that you can't bring to school and have a total understanding among your peers.
I do have a stunt double because there are certain things that they won't let me do. Like they won't set fire to me. They won't like let me jump off a 20 story building. There are certain big stunts that it's just impossible to get insurance to let me do, but for the most part I'd say I do probably 75% of my stuff.
Searching out directors you respect and that you can learn from that's always the dream. That's the goal. That's hopefully where this whole thing is leading, and what better way to learn about directing and learn about what works and what I like and what resonates me than by working with a bunch of great directors.
I grew up in the Midwest, and I was a short, fat, little Jewish kid... but it was just different. People didn't understand, so I had to deal with it. One day, I physically dealt with it, and it never happened again. I'm not saying that's the way to do it, but you have to stand up for yourself, period, end of story.
There's exceptional work being done on television. Some of our great writers are writing for television. When you have things to choose from, you typically go after the writing - unless you're going after the money. There are fewer opportunities in film to make money with good writing, unless you're an action hero.
I think some people watch 'Raging Bull,' or they watch 'The Piano Teacher,' and I think they're more, maybe, able to process an antihero in a dramatic context, where people more want comedy to take care of them. But that's not really taking care of people. That's just providing escape, which sometimes is necessary.
I'd like to help other comedians and when I get a little older I'd like to open up a nice comedy club that is straight classy, with a straight restaurant and a chef. The whole thing, red carpet, and treating people nice, for people to come back and have a good time. That's the kind of comedy club I want to open up.
Right before I got 'Sons of Anarchy,' I actually quit acting for 18 months and didn't read a single script, and I wrote a film. I felt like I needed to do something that I had control over, as an artist, and also just do something where I felt like I had some control over my life, as just a human, out in the world.
I grew up in a house where my father went on auditions, and he got some and he lost some, and there were good years and lean years. I didn't expect anything from the business, and that's often a danger in Hollywood, the notion that if you're pretty and have white teeth and just show up for the game then you'll win.
It may be a mistake to say this, but I know my limitations as an actor and I know what I can and can not do. Robert De Niro can do everything. I can't. A 'Highlander' movie is basically my thing. What I'm attempting to do is develop my ability as an actor and try to be the best I can be in the fantasy/action genre.
And, for any performer, to be able to go deep into character is fantastic. In film you only get to do that if you're the leading character. But in television you get 18 hours to really test the audience and take them to the edge of how far they will go with this character. I can step over this line and I love that.
There's always changes in the way they do that in the cinematic universe. I think, with the S.H.I.E.L.D. 2.0, you're seeing some of the first ripples of those different points of view on what S.H.I.E.L.D. should be when it's rebuilt. I'm very, very curious to know which side Coulson will end up on in that struggle.
Will Smith would say your five closest friends are what you end up to be and ever since I heard him say that, I said I gotta know who's in my life because that's who you're going to become. That's advice I'd give to these young men out here, killing each other and at war at each other because it's bigger than that.
We all know Reagan's legacy, from the Iran-Contra affair to the funding of the Nicaraguan military in which over 200,000 people died. The groundwork for the move steadily to the right happened with the Reagan administration. People want to elevate him to some mythic level; they have their own reason for doing that.
I ended up breaking with my boyfriend, and a week later, Neil and I had a date. We started hanging out every single night, and after three months, it was just non-stop. We talk on the phone at least eight times a day and text at least 25 times a day. He's my lifeline in an amazing way. Without him, I can't breathe.
I don't know about the baby, but I will be interested to see, like anyone who's a fan of the show [how it's resolved]," he said, and then joked, "They'll have to resolve me while I'm not there, so I hope they don't say, 'Oh yeah, Mulder's gone, what an asshole. He had a baby with me, he kissed me and then he left.'
As much as they deny it, I think people want to be scared. It's a phenomenon, why people want to be scared when there is so much violence and craziness in the world. People still really enjoy being scared. It's a conundrum to me. It's hard to explain. It's an unconscious thing, really, why people like that so much.
I was just doing bits and pieces of acting in the UK. I'd been in the film Breaking and Entering - Anthony Minghella gave me my start and I miss him dearly. Then I made the trip out to LA, during one of their pilot seasons, which was when they were developing Gossip Girl, and I auditioned, and things came together.
I wish I could describe anything I do as conscious or strategized. To be honest, in acting, you have so little control. The only control you have is if you're lucky enough to be in a position, which is not very often, in which you have choice. It's about what choices you make, and for me, it's entirely instinctive.
I like to get into a lot of things besides movies. I've been very involved with a few specific efforts. We built this park in New York and it's been a very successful project... I worked on a conservation project in East Africa... Too much of this type of stuff can get you wrapped up in your own work and I love it.
Recently I was directing an episode of 'Glee' and I lost my cell phone - and I didn't have time to buy a new one for three weeks. Well, the first few days I was anxious as hell, suffered the delirium tremens, didn't think I could make it through, etc. Then something kind of curious happened - I began to feel great.
It would be great for everyone to grow up like I grew up, where everyone had a job. It would be nice for everybody. I'm the son of a "legal" immigrant. I think it would be nice for everyone to get back to work. Get rid of homelessness. People could work. I think if people give Donald Trump a chance, he'll do great.
When I did 'Thoroughly Modern Millie,' it was almost every 'first' I could have imagined: I dreamt someday being on Broadway, and then dreamt someday playing a lead on Broadway, and then dreamt someday of getting to originate a role, and then getting a Tony nomination. It all happened at once. I was just terrified.
Within our culture, every school has a swimming pool. We lived on the coast. People swam in the surf. It's a very sporty nation and at that particular time anyone who had an artistic bent was very much an outsider. So if you liked reading or ideas or playing the piano then your dad viewed you as a sissy, basically.
My parents are from the South - they were both born in Birmingham - so my dad saw R.E.M. really early on when they were playing college stuff in Athens. He had a bunch of their cassettes from the '80s, and when I was 8, 9, or 10, those were the sort of things that were around the cassette player in the living room.
Animation wasn't my love, but drawing was. I loved drawing, and when it came time to graduate from high school, I looked around and it was like, "Wow, I don't really want to study math. I don't really want to study science. I don't really want to study literature. Is there a place where I can go and draw cartoons?"
I've got to find a compromise where I don't feel compromised. I've got to find something equally good that they don't feel uncomfortable with. At a certain point, it's no longer about what I thought was right, but it's about this new discovery that happens with the actors. It's nice when the actor is also a writer.
State sanctioned marriage is a civil contract period. A contract is not a judgment of moral value. It is a legal agreement between two parties that testifies to a meeting of minds between those consenting entities. It is not a religious act or rite and so has nothing to do with Adam and Eve or Steve or even Harvey.
The day-to-day microaggressions that we all face, yeah, you have to let some stuff slide, or you go, 'I gotta keep moving; there's bigger fish to fry.' It's something that I still deal with. But I've tried to have the audacity of equality and to follow my heart in those moments where I feel like something is wrong.
English actors feel vaguely apologetic for being there at all. American actors know that the most important thing is to get one take out of fifty that is great, and they'll go to any length to get it. The English are used to working within consistently small, low-budget things and think, I mustn't waste their time.
I was pretty shocked to learn that as many as 30,000 elephants are being killed every year to fuel the ivory trade, despite an international ban since 1989, and that 60% of forest elephants have already been wiped out. At this rate, experts say populations will become extinct in the next decade. No one needs ivory.
She has never messed up a single take yet. Recently I was in a scene and there was a table covered with a cloth. When the director said cut, I saw a black nose and two paws inching out from under the cloth. She had hidden there without making a sound until we were done with the scene. She wanted to be nearer to me.
I've done movies with Oliver Stone and Michael Mann. And I've done quite a few dramas in my time, from the theatre to film work. I just think the audience is used to seeing me on 'Saturday Night Live,' and 'K-9,' and 'Curly Sue' and of course, 'According to Jim.' I think that my comedies have been the most popular.
Now it's all about the word of mouth, and watching a series on Netflix. That's the way people actually consume this stuff now, instead of waiting for a DVD release you're not really sure you want to buy. And I think it's fantastic, because then I can watch the shows that I missed, over a weekend. I love doing that.
In a love scene that's really advantageous because you don't have that horrible moment of: "We don't really know what we're supposed to be doing, we just know we're supposed to be snogging and then shagging." Then the director shouts "action" and it's like: "Should I feel her boobs? I don't want to feel her boobs!"
When I was growing up, Belfast City Hall was surrounded by security, and we had no access to it. But now, people come in and out of it all the time. On a nice day, office workers and students sit on the lawn outside and have lunch. It's great to see how Northern Ireland has changed. To be part of that is fantastic.
I think the most significant change in my life is the decision to do a series. An hourlong dramatic television series on a broadcast network swallows you and chews you up and refuses to spit you out. You're making a decision that's going to be a profound and significant impact on the practical aspects of your life.
When I was on 'Terra Nova', I had an Australian iPhone and a U.S. iPhone, different time zones, just a couple differences in the machines, but I was able to keep the international aspect of things in order. But I lost my U.S. iPhone right before I left Australia. Somebody's got it somewhere out there. Send it back?
I think the most important thing for an actor is reading the script and trying to figure out if you can play that character well. The last thing on my mind is if the director made good movies previously. It's not my job to know if that director's last movie was any good - it's my job to know if I can play the role.
If you walk into a room and one hundred people say, 'You are a lovely, beautiful person', who isn't going to be affected by that? But you have to tell yourself not to value that. You have to tell yourself - or at least I do - to not become accustomed to hearing applause in any way, because I think that's dangerous.
That's been one of the best things about doing 'Game of Thrones.' My social circle in London has more or less doubled just by doing it because nearly everyone is based in London. And I hadn't long moved to London before doing it, so it's been really great in terms of meeting people to hang out with while I'm there.
I used to be like "Why are we doing a remake? What are remakes being done for?" But then, we do that all the time in the theater. Retelling stories is what we've done since we were sitting around campfires. It's a part of the human spirit. It doesn't have to be negative to creativity. It can be completely opposite.