[on having appeared for five seasons on 'Lost'] I like the show better the more I think of it. It did break new ground and it had a ripple effect. It played with the narrative process. It presented the audience with an esoteric view of time and space in a way they hadn't seen before. And I think the audience paid it back with this incredible affection and fervor that has really never gone away.

[on 'Person of Interest'] When the NSA story broke I thought 'Oh, wow, now real events have caught up with us'. It's double-edged, though, because now we're very topical and the writers can no longer write it from the point-of-view of it being fiction. In a real way, the world has forced itself on us. And now the real world has to be incorporated into our stories in more subtle ways - because of what the audience now knows.

A better question might be what is it about those characters that appeals to audiences, or an even better question is why do audiences perceive them as creepy? Let's say I got to the studio one day and I play it in neutral - I don't make any judgment about the character or the material or anything. And then when it comes out and it's all chopped together and there's music and stuff, people go 'my God that's scary!' But I don't know what the scary element is. I don't know if it's something in me. I don't know if it's in the playing of it or the perceiving of it. It's an interesting issue, though. - asked why he's drawn to playing "creepy" characters

[about doing Unfaithful (2002)] You work four days, and then one line is left when you see it. Demoralizing.

It worries me a little bit the reach and power of TV. More people saw me in The Practice (1997) than will ever see me in all the stage plays I ever do. Which is sort of humbling. Or troubling. Or both.

I've had the blessing of doing classic plays on Broadway, which was one of my great dreams forever.