In terms of preparation, if there's some historical context that's needed, I do like to read a lot. Working on Joe Kennedy for 'Boardwalk,' I read a couple of biographies on him. It's nice to have a broader context of the man outside of where the show is coming from.

I was not a comic book kid.

You especially want to strive for that nuance on a show like 'The Flash,' which is different from 'Legends' in the sense that it's really, at its heart, a smaller show. It's a more intimate show, in a way.

Carrie Diaries' is very heartfelt and earnest in a lot of ways.

The effort always remains that my new film outdoes my last in terms of performance and gets better box office success. Box office is the sole reason why I do films.

Success was always critical to me. What it meant was winning enough praise and external admiration that I could feel myself to be a logical extension of my Uncle Alex, Uncle Zoli, and my father, in that order.

Two of my dramas, 'Unforgotten' and 'River,' were airing at the same time, and Dad had read about my 'success' in a newspaper - he thought it was brilliant. I was thinking, 'Does this mean I'm going to be put in a box for a bit now?'

Success has affected my self-definition in that I have more money. Writers pooh-pooh that idea, but it's a huge deal.