People understand the simplicity of violence, and martial arts has always been about the more efficient way to deliver said violence upon an adversary. I've kept that philosophy as the focal point of what I do.

I think, for an artist, when you're drawing somebody who actually exists, it's a much steeper critical curve, as there is an actual representation of that person out there. You can't just interpret it any way you want.

You may not like the way I deliver the truth - you may take umbrage with the way I handle most of my conflicts - but that's the way I do business.

The biggest thing here in WWE is that if they see some really valuable qualities in you, they're really going to do their best to maximize them and put you into the scenarios and into the situations where that's going to make the most impact. For me, they've definitely done that.

I think that when we have a better educated society, when there is less violence in our cities, when people get back into the workforce and have the opportunity to take care of themselves and their families - that for me really is the kind of success and the kind of America that I think most of us still want, we aspire to.

The success of 'Scrubs' allowed me to pursue anything I felt passionately about without having to worry about money. It allowed me to spend my summer work shopping my show at a nonprofit theater.

If people aren't clear on what business you're in, what you're trying to accomplish, your values, your goals, then shame on you. It doesn't mean you shouldn't involve them. It's just your responsibility to make sure that that's clear.

Everyone loves a slice of period-drama-pie, but I think the success of 'Upstairs Downstairs' is really down to the wonderful format that Jean Marsh and Eileen Atkins created.