I find historical figures in general very tricky because you feel at times that you're serving two masters. Not only the arc and wonderful writing that comes with the show, but also the history of a person's life.
I've picked up a great appetite for pastrami on rye and a nice cream soda. It is fantastic. So I have to be careful or I'm going to just get really fat.
I really think that the 'Jersey Boys' musical - and this is just my opinion - lends itself to being cinematic in some way, because it's a jukebox musical; the characters break into song only for the scene transitions.
I feel a great responsibility playing a historical figure because whether they were good or bad, I feel like the person deserves a fair shake. It's like being the executor of their estate in some ways.
I applied a lot of the same principles I used in hockey into my acting. I might have had some naive ambitions of making the NHL, but thank God, playing hockey gave me a good foundation for everything else.
A lot of people say, 'I always knew Lucky Luciano as a very smooth, very elegant, very powerful man.' All the accounts of him as an older man were that he was very genteel but he still had the look of smothered violence behind his eyes.
I'm a real low profile guy. So a date night for me is kind of curled up at home and watching something... have a nice glass of wine, a nice meal and we're all set.
As an actor, I like as much time with the material as possible and given the opportunity, time spent with the other actors in the scene. But that is a rare luxury in working in any TV series.
I think New York style is unique because there's something resourceful about it. Utilitarian. Whereas in Los Angeles, I find people make their cars a day closet. Which, I guess, is resourceful in a different way.
