We take our bearings, daily, from others. To be sane is, to a great extent, to be sociable.
In all the years I've been playing, I've never considered changing my cue. It was the first cue I ever bought, aged 13, picked from a cabinet in a Dunfermline snooker centre just because I liked the Rex Williams signature on it. I saved £40 to buy it. It's a cheap bit of wood, and it's been the butt of other players' jokes for ages.
I'm more interested in knowing my cues than my lines. If you know what your cues are, then you know what your reaction is going to be to them. Acting is about reacting, and if I can kind of purely react, that's easier for me.
Being a hero, the man had observed, is largely a matter of knowing one’s cues.
You're surprised by something, but you don't really know what surprised you; you recognize someone, but you don't really know what cues cause you to recognize that person.
In theater, you really work out the kinks and figure out exactly what you want to do and what we want to say, so by the time we have an audience, we're really prepared. With TV, you have a day... Sometimes, just a few hours.
Jon Hamm is such an amazing co-star. He used to set the tune of the scenes so easily, and in his free time, he didn't mind giving us cues. We picked up a lot from him.
The script of a play is not a finished product: It's a set of instructions.
You take the opportunities when you get them, and you try to see if there's any cues the opposition gives you, but more important is focusing on your own process, trusting your instincts, and being decisive.
Flirting all starts with eye contact! You can tell a girl is into you if she's across the room and still making eye contact with you.
Logistically, working on a television show and hitting your mark and leaning to your right and knowing where the camera is - I literally felt like I was on another planet.
Gestures matter.
