But when you're a working actor - and that's what you keep saying in your head, how blessed you are to have a job - and you are working with heavyweights, working with the best guys in TV, it's pretty cool. Exhausting, but cool.
I didn't get into acting to be a public service announcer or an advocate and yet, by virtue of this show and how we handle the subject matter that we've been given, that's kind of how it's evolved in certain ways.
I think we present extreme aspects of human behavior and hopefully get at times, messages across or bring issues to the table or as we so often say, shed light into the dark crevices of human nature
I've written a couple screenplays and half-finished plays.
I had great faith in Irish actors, that they'd be hip to the whole theatre thing, and they are. I had no illusions of coming over here as some kind of big shot. It's been a learning experience for me too.
I think Chris Rock at the Oscars was a great example. I thought that was intellectually hilarious. The Gap starts a war with Banana Republic... That to me was funny.
The reason why I hate working in theatre is the tedium of memorisation. But once that is done, then you feast on this never-ending meal. If you play it correctly, every night is fraught with very high stakes that are very difficult to find in everyday life.
TV's hard work. I don't know how the hell Angela Lansbury survived doing 'Murder, She Wrote' all those years.
It is a weird feeling to have people go, 'Hey Chris' like they know me. But, number one, 99 percent of my experiences have been really cool. People couldn't be nicer and more positive.
I've got the best of all worlds. It's every actor's dream to wake up in New York City and go to an acting job rather than to a restaurant to wash dirty dishes. And I live so close to the studios that I ride my bike to work.
I like intellectual journeys.
I don't get called very often to play innocents.
I rarely see one of the 'summer blockbuster' movies. I'd like to see a stronger focus on smaller, smarter movies.
Crime is one of the leads of the show. If there's ever anything that deals with a character's personal life, you don't have to worry about it getting too crazy. People don't have to worry about character arcs. Each episode is a self-contained unit.
De Niro was a hero of mine. And Sean Penn. But I've realized I can't operate at that level of intensity. That's okay for movies. On TV, when you live with horror day in and day out, you have to protect yourself.
I think to be a successful comic, you have to be exceptionally smart and exceptionally perceptive.
People don't know where to place me. Terry Gilliam used me as a quirky cop in 'Twelve Monkeys', and then he hired me again to be an effeminate hotel clerk in 'Fear and Loathing in Las Vegas'. Another time, I was shooting this indie film 'The Souler Opposite' and six days a week, I'm playing this big puppy dog, then I come to the 'NYPD Blue' set and become this scumbag.
How that works is our first season was the year we had a threatened writers' strike, so what we did was that instead of doing 22 episodes, we did 30. We put 10 in the bank.
Life is never straightforward or emotionally black and white.
TV's hard work. I don't know how the hell Angela Lansbury survived doing 'Murder, She Wrote' all those years. And sure, everyone wants to be Bruce Willis or George Clooney - they want to be in film for the range of characters you get to play.
In my own defense, I wrote a one-man show, and that to me was more where I fit.
This is a dream come true. To wake up in a place that I own and go to work in New York City as an actor - I feel like Mary Tyler Moore throwing her friggin' hat in the air.
It's always been kind of weird to me because when you give someone an autograph, you're looking down at a piece of paper and once you sign it the person moves on.
I never find sincerity offensive... so, be sincere.
My mother raised three children on her own and my dad was a doctor working 16 hours a day.
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