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The only description for Nolan in the script was that he's a very bad dresser. I put on a red windbreaker and every other ugly, ill-fitting thing I could dig out. He was potentially written as a clean-cut nerd, but I wanted a darker spin.

There has always been this narrator in me - I loved ideas, and part of the great love affair I would have with ideas consisted of talking about them.

Everything in Wagner's work - the music, the acting, the staging - stemmed from the text. Everything served to interpret the text.

I get sent a lot of scripts which feature him as a kind of all-purpose Victorian literary character and really understand little, if anything, about him, his life or his books.

First of all, Craig Lucas' work, any of it, for any actor, is such good material. It's so alive in such a poetic, yet human way. It's theatrical, but it lets you emotionally connect with the characters.

I have 800 books of just Samuel Beckett's work, tons of his correspondence, personal letters that he wrote. I have copies of plays he used when he directed, so all of his handwritten notes are in the corners of the page.

I've always wanted to do a Crichton book. I really love his writing.

I was a good college kid, all-American and baseball-playing, living in the dorms with a million barbarians. I did not expect to be claimed by Fitzgerald hook, line, and sinker. 'This Side of Paradise' - that sweet, sophomoric pastiche of notes, scenes, poetry, and plays - I felt like he'd written the book just for me.

I think it took me half a page of 'Wolf Hall' to think: 'This is the novel I should have been writing all along.'

Now that I'm taking some time off from school, I've been reading a lot to make sure I don't forget everything. It's mostly classics and nonfiction accounts from actors, directors and writers from the '40s and '50s.