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After film school, I would write 8 hours a day on film and 8 hours a night on TV, and then sleep once and a while.

If you want to be watched 24 hours a day in everything you do, you can't turn that around. You can't wake up three years later and say, 'Stop bothering me, I'm a serious actor,' if all you've done is wear certain clothes and show up half-loaded at clubs.

Because I have no consistent schedule as an actor, it was difficult to develop one as a writer. Ideally, I'd like to write first thing in the morning, every day. But sometimes I'm called to set before the sun comes up, or I've worked late the night before, or I'm on a plane.

No one ever sees the sleepless nights, the years of studying and 14-hour days earning your dues. I spent three years isolated in an academic environment to be the best actor I could.

I characterize myself a little bit as a reluctant filmmaker. I learned from watching my friend in college stay up late at night, at 2 A.M., just to get the lighting right, and I thought, 'You know what, if that's what it's going to be like, I think I'm just going to write,' and I did that.

Acting gives you cosmic permission to take a trip in movies that lasts 24 hours a day, seven days a week, until the film is finished.

Nothing is so discouraging to an actor than to have to work for long hours upon hours in brightly lighted interior sets.

I'm not complaining about doing 20-hour days. It's a joy to be able to work on yet another film.

If you're doing an hour-long show, you're working movie hours, doing a 12-15-hour day. We work three or four hours a day, and get every third or fourth week off to give the writers time to write. It's the cushiest job in Hollywood.