Which is good, in a way, because the danger in doing something like STAR TREK is that you end up in that pigeonhole and you're doing that the rest of your life.
There's no reason not to be in television now. You get to live at home and you're not on the road all the time, they pay you decent money, and the writing's good. You're not compromising for it, you know.
I do probably 80 or 90 per cent of the cooking at home.
As an actor, I like to get a bit of momentum going with a character and kind of work a bit quicker. I mean, not crazy-fast, but, you know, five or six pages a day is a nice pace.
I suppose I look for humor in most situations because it humanizes things; it makes a character much more three-dimensional if there's some kind of humor. Not necessarily laugh-out-loud type of stuff, just a sense that there is a humorous edge to things. I do like that.
I usually look at things like that from an audience perspective first, then have a closer look at the specific character they're talking about me for.
If you're playing the a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.
Normally when I'm sent a script I'll read it through to see how it hangs as a story and then I'll go back and read it through again and look at the character.
Well, I've always been a character actor, you know, and you always get your share of character actors who are bad guys.
Talking about the show reminds you of things that you went through. So it's fun. When the show was on, I couldn't have handled it. I didn't want that direct connection.
A good comedy's very hard to make, so good comic writing I really enjoy.
My old manager of the Irish National Theatre said 'Don't worry about being a star, just worry about being a working actor. Just keep working.' I think that's really good advice.