Frank Miller is more of a visionary than any director I've ever worked with, and he achieves that vision better than anyone I've ever worked with.

Honestly, I'm not a massive fan of courtroom dramas.

I believe that shows should be shot where they take place.

I can't argue my way out of a paper bag.

I don't mind doing the green-screen stuff at all, and in fact it's a lot like black-box theater, which I did plenty of in New York.

I really feel that New York City is the greatest city in the world.

I'm a straight shooter, and most of the time my ego doesn't interrupt my relationships.

I'm a T-shirt-and-jeans-with-combat-boots guy. And if I don't have to shave, I don't.

If you go to pilot then you are probably going to go to series. That's my feeling about it.

My family is full of musicians, and a couple of times a year we get together and jam at my cousin's studio. We improvise and have a great time.

My parents would have loved it if my brother or I had become a doctor or lawyer.

Well, honestly, I'm not a massive fan of courtroom dramas.

For me, I think there's a lot more room in cable television to tell broader stories. NBC and the networks, they're all very mainstream, and they're a little more conservative in how they approach storytelling.

I grew up in New York till I was 5, and I remember going to see 'Annie' and some musicals as a kid, and I remember my parents being somewhat okay with us watching 'Rocky Horror Picture Show,' which, it boggles my mind that they allowed me to watch it.

I think if you're artistic in any way, you're probably born with it. I guess it's a talent that can be learned here and there, but I think the instinct to tell a story or to create something happens maybe in the womb.

My father is an actor, and I used to go on set to visit him. I saw the stories he was telling and said: 'That's what I want to do.' I was always in awe whenever I went to the movies or when I watched television.

I love telling stories, and am almost entirely unable to keep a secret.

The broad outlines of the Double Cross deception have been known since 1972, when Sir John Masterman, the former chairman of the double agent committee, controversially published his account of the operation in defiance of official secrecy.

'The Man Who Never Was,' by Ewen Montagu, remains the best book about wartime espionage written by an active participant - incomplete, and dry in parts, it nonetheless summons up the ingenuity and sheer eccentricity of those who played this strange and dangerous game.

'What if?' history is a tricky game, but there is no doubt that the senior planners of D-Day - including Eisenhower and the British general Bernard Montgomery - believed that the Double Cross operation had played a pivotal role in the victory.