I don't want to be the guy who goes, 'Oh yeah, blah blah blah... everyone freaking well knows me.' Because that's not the case. Once in a while, someone will remember some silly thing I did and then they feel good. And they go, 'Oh, hey, Michael Bolton, I celebrate your whole catalog.' And I'm like, 'Great, great, I totally get it.'

I felt (a) it was a great role and (b) I wanted to stay in town. I wanted to stop going to these four month and five month gigs up in Toronto or Montreal or Vancouver or down in Mexico. I wanted to be around my son, Max. This came along and I was like, 'I really want to play this guy!'

I got the pilot for 'Scrubs' sent to me, and in the margin for Dr. Cox, it said 'a John McGinley type.' So when I went in to audition, I said to Billy Lawrence, who's a dear friend of mine, I said, 'Well, I'm John McGinley.'

I have mixed feelings about 'Car 54, Where Are You?' Because we shot it as a musical and whoever the studio head was at Orion, or whoever the powers that be were, cut all but, like, two musical numbers out of it. That is the same as cutting the musical numbers out of 'The Wizard Of Oz'; it wouldn't be that interesting.

I have no issue with being a character actor. If you've been around enough that people are able to segregate you into that category, it means you're working. So that's good!

I just can't afford to get bored, because if you've been blessed with a generous imagination, which a lot of actors have, to be engaged, to be stimulated, is to liberate your imagination.

I knew I wanted to play 'Dr Cox' really bad, which is always a huge mistake because as soon as you want something really bad, maybe you rip up a little bit.

I went to see Alison Krauss and Union Station at Disney Hall and I would say it was one of the most astonishing sonic experiences I have had. It's an enormous room that's acoustically perfect. My interpretation of receiving music as a layman is that the way the music kind of settled on me in that room was perfection.

I worked on the floor of the New York Stock Exchange back when they used to write tickets. And I was just a runner. So a guy would write a ticket and I would run it, and it was endless. That was a hard job. And I dug tungsten... for a coal company in Wyoming one summer, and that was pretty miserable.

I'm the wrong person to not be professional around. When someone calls 'action' and we're in the frame together, I'm gonna run you over. You're gonna get eaten alive.

I've always thought Ed Burns was a profoundly underrated actor. He's a great director, obviously. A great director/writer. But I think he's a stunning actor, too.

If you can figure out where you fit into any particular story, you'll be okay. When you're not quite sure where you fit in, you try to be too many parts of the story. You gild the lily. I see it all the time.

Kanan is a big road through the Santa Monica Mountains. Between mid-March and mid-April, when you get over to the western side of the mountains, it's populated by Spanish broom - this beautiful, yellow, flowering weed that smells the way I imagine it smells along the Yellow Brick Road.

My son walked up to Nicole on the beach and I was throwing the ball for the dogs in the ocean. I was like, 'Max, you get the dogs. I'll talk to the hot blondes.'

On 'Platoon' I was offered in 1984 a very tiny part that Ivan Kane would go on to play. Then the financing fell out, and the film was scuttled for two years.

The conventional wisdom with David Mamet is, you do not change a word. And that agrees with me. If you want to change any of David's words, it's like wanting to change the iambic pentameter in Shakespeare - you should do something else.

The learning curve on soaps is through the roof because it's a three-camera setup. There's a master and then there's two singles. And the great thing about soaps, and soap actors will tell you, is that when you get your line wrong, they don't re-shoot it. They just cut to the person listening.

What helps writers, and ultimately, obviously, helps the actors - who should serve the words that the writer puts on the page - is if the character has damages, because then the writers can cultivate and excavate, like a dentist going into a tooth.

What's so interesting about 'Point Break' to me is that it's a study of testosterone and adrenaline by a woman. That's why it's little more interesting than it should be.

When your child stops breathing 60 times a night, you don't worry about what's going on next year or even next week. You put aside thoughts about which preschool you're going to enroll him in and focus on how he's doing right now. It's not the Norman Rockwell relationship that you sign on for when becoming a parent.