You know, because of the lack of budget, we had to find neighborhoods where time had stopped - kind of stuck in the '50s. And no place had that better than Staten Island.

I would work with any one of them again in a heartbeat because it was joyous and incredibly easy.

I still don't know much about directing a movie.

We made a deal that was acceptable to us. We got paid very handsomely for our final season.

But one sets of grandparents lived on Davidson Avenue in the Bronx and one lived in Manhattan and I had an aunt and uncle in Queens, so in my heart I was a New Yorker.

The thing about For Better or Worse is the only thing that made me an okay director for that is that I have a sense of humor, and it was supposed to be funny.

Well, let's put in this way, I grew up in West New York, New Jersey.

The show is like an Edwardian play - emotional life gets stepped on for the sake of accepted manners, and that's terrific for actors to play in.

But I didn't know much about directing a movie.

You know, because of the lack of budget, we had to find neighborhoods where time had stopped - kind of stuck in the '50s. And no place had that better than Staten Island.

I'm always more motivated by the pain of a funny character than by what makes him funny.

The greatest part of the job was... that was for nine years it was a pleasure to go to work.

'Broadway Bound' is near and dear to my heart, as it was one of my happiest times on Broadway.

Acting is not terribly important work, and I have always felt a bit of guilt about pursuing something that is so selfish. I love doing it, but it is never something that feels like it's going to change or save the world.

Boston was a great town to go to college in. Maybe that's why there's so many colleges there. I love the town, and I loved Boston University.

Comedy lives on in the web and TV, but nobody's pressing comedy albums anymore.

Comedy works best when people recognise themselves.

Directors get to fire on many more cylinders than an actor.

Do people absolutely need the arts to get by day-to-day? You can make that claim, but they also really need a lot of things before that.

Do you want to have a career that goes beyond, you know, 11 minutes in a 22-minute television show every week? Some people don't. That's fine.

Even when I was an actor in training, one criticism my teachers had was that I should think about directing instead of acting, because the best actors see the material they're working on through blinders. They can't see anything but their role. I could never really do that.

Every poker player, like every fisherman, needs to have a story in a box, and most poker stories are completely uninteresting.

I am hard-core middle class.

I can get motivated seeing a kid at my son's school overcome a learning disability.

I cannot tell people who are struggling that I come first. I just cannot.

I do think that the days of gathering around a television set that functions merely as a television set, to receive a live broadcast of some networked programming, those days are probably numbered.

I find when somebody says to me, 'I'm going to motivate you,' more often than not, they're not going to get me.

I found that looking at the Israeli/Palestinian conflict from an outside vantage point was actually quite distancing. The history of the conflict, the personalities, the violence, the distrust, and the seeming lack of viable solutions made meaningful involvement feel impossible. What changed that, for me, was changing the vantage point.

I guess the Reagan era is defined as the 'I want it all for me, and screw everybody else' era.

I had gone to the doctor. The doctor said, 'You're healthy as a horse. You've got two weight problems - two health problems because of your weight. Please do something.'

I have actually lost a couple of roles - film roles - because a director or producer thought I looked too much like George Costanza, and I could not get out of that box.

I have always wanted to play Sweeney in 'Sweeney Todd.'

I have no illusions about having another 'Seinfeld' in my life.

I kept being asked by corporations to do corporate gigs. And I said, 'I don't have anything. I'm not a stand-up. You want me to come sing show tunes for you? I don't think so.'

I know what it's like to be in the closet! I know what it's like to be bullied and attacked because someone or some group thought I was different or below them... so, I'm coming out of the closet as an ally of equality for everyone; as an ally to hope.

I love smart comedy.

I met the real George Steinbrenner on only one occasion when he actually came and played himself on an episode of 'Seinfeld.' He seemed to really enjoy himself. I did not get to know him, but the fact that he allowed himself and his beloved team to be satirized on our show is an indication to me of his true character.

I started balding at age 17 and after first being sad, I really embraced it.

I think that I have very few personal gifts to bring to real politics.

I think with challenge comes a little more fun.

I was a shy and insecure kid and didn't know quite where I fit.

I was heavy as a kid. I mean, I kind of got it together for a while there in my 20s and early 30s.

I was the teenage kid growing up in New Jersey watching the Tony Awards and thinking, 'Oh, maybe if I'm lucky I'll make it to Broadway by the time I'm 40!'

I went into performing for the community. Being backstage with your company of fellows is the best part of working in live theater. That energy, that combined focus, the synergy - it's addictive.

I'm a singer and performer in a hybrid show that's standup, music and audience participation.

I'm actually one of the more reluctant celebrities you will ever meet.

I'm not a director to make an action or horror film. That's not for me.

I'm still bald, I just wear a toupee.

I've gotten a lot of compliments on the 'Criminal Minds' guy. I guess it's because the look of that character is so different from what people expect of me.