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I don't think of myself as a New York actor; I think about this guy who's an actor who happens to be from New York.

I'm identified as a New York actor, I sound like I'm from New York, and I couldn't be more proud of it.

A lot of the fiction I read growing up was post-war American, and not all of it centers on Manhattan, but around people of the Mad Men generation, people like John Cheever and, in more modern times, Don DeLillo, who I always mention.

Manhattan, though, was an entirely different ballgame in a whole different kind of world, with a man who was brilliant and at the same time terribly charismatic.

Wes Anderson's mind must be an exciting place for a story idea to be born. It immediately becomes more than a series of events and is transformed into a world with its own rules, in which everything is driven by emotions and desires as convincing as they are magical.

I grew up in New York, I love New York.

I'm particularly drawn to actors in their own little drama. I find it's that area I'm very alive to. And I don't encounter it that often. You have to be far from civilization, you have to be far from New York or London to find people who do that.

As an actor, there are places you can live, and when I graduated from school, it was either New York or L.A., and I liked the East Coast. That's why I ended up in New York.

I was enamored of New York City intellectual life and was really into Philip Roth because I was raised by self-loathing Midwesterners who were from southern Illinois, who felt like fish out of water when they came to the East Coast when I was a kid.

There's something so wonderful about being an actor in New York.