Usually with something like 'The 100,' because you're working so much and every day, and they'll change the drafts quite quickly, we'll go through maybe, like, 12 different versions of the same scene over a week. So there is no point in learning it on a Tuesday when on a Thursday it might be completely different.

My whole philosophy has been to let the work speak for itself, because that's really what you want to show.

When you're placed in a world where survival is the main focus, a lot of that other stuff, like wrongdoings in the past, become obsolete. You have to focus on the here and now.

The moment the world falls apart, you start forgetting history and wrongdoings in the past.

I always loved singing and writing poetry. I always loved music, and I've loved writing my whole life. When I put them together, it was probably in my early 20s where I put words to music for the first time.

Rush has never been a spontaneous group. We may be spontaneous in our writing, we may be spontaneous as individuals in our day to day lives... certainly I think am and always have been, but I think when it comes to Rush and our presentation of our music it's quite controlled.

The imagination is a muscle. If it is not exercised, it atrophies.

There tends to be this hierarchy of film and television, and theater is somewhere else in its own milieu. However, as actors, yes, we love to do theater because it's our story. Nobody can edit it, the curtain goes up, and it's ours for two hours or three, or whatever. And we tell it.