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I wouldn't go back on my old days, though; everybody needs to have their wild years. It's just a question of when and I'd rather have had them early than be doing it as a mid-life crisis type thing.
The '80s were about trying to establish myself as an actor with a career. And being a teenager enjoying the fruits of being successful with lots of what I think is appropriate for that age.
[The Outsiders] was very competitive, in the best possible way. Full of love, full of companionship and fellowship, pranks and practical jokes and ball-busting.
Directors are not worried about casting beautiful women, but they are not sure that they want to cast great-looking men. My looks have prevented people from seeing my work objectively.
There's this unbelievable bias and prejudice against quote-unquote good-looking people, that they can't be in pain or they can't have rough lives or be deep or interesting.
I have been looking forward to this age of my life for a long time. In my twenties, I marked the days on the calendar - I was sick of playing high-school kids.
I like the tradition of ordinary men in extraordinary circumstances and how they react to events which force them to be heroic in a way that is not in their natures.
Conventions are, by nature, a party. I mean, that's why people become delegates. They come from all over the world to exercise their democratic rights and to party.
If people find me attractive, it would be for reasons that anybody finds anybody attractive. It's something that comes from within, and it manifests itself physically.
David Mamet, Tim Kazurinsky, and Denise DeClue, who adapted [ About Last Night]. Between the three of them... I mean, it's always down to the writing. You're only as good as your writing.
The really good thing about my career is that I never went through a phase where I played characters who had names like "Partygoer," "Waiter," or "Guy #1."
Some of the '80s movies I did are sort of museum pieces. St. Elmo's Fire is great as a sort of kitschy, "Oh, my god, I can't believe we wore that" type of movie.
About Last Night... [movie] still stands up for me. Like, I'm as proud of that today and still have the kind of faith in it today to show it to a young couple as I did when it came out.
The universe works in mysterious ways and for me it worked out perfectly. With all respect to everybody else, Aaron Sorkin is and was The West Wing, full stop. There's no West Wing without him.
I had no regrets when I did it, I have even less regret now because I can't imagine staying on the West Wing show and then, six weeks later, Aaron Sorkin leaving.
That chemistry that we had [with Fred Savage] is very, very hard to find. We were lucky to have those 22 episodes [of The Grinder]. I'm unendingly proud of it.
[The Outsiders] was all new to me. It's been fun to be a part of that ride, where it's become on the level of Catcher In The Rye in terms of people's required reading in schools.
Trying to execute that kind of intricate staging in the West Wing at the same time you're doing intricate dialogue - it's like patting your head and rubbing your stomach!