The only thing more intimidating than a huge international film star is your mother-in-law.
Part of your job as an artist is to push yourself and make sure your creative juices are flowing.
You learn history in school, and you have a reverential feeling toward it. But by being irreverent, it feels current.
People are still people, and they make their decisions based on their life experiences and their beliefs. You really can't divorce the two. It's important to fight against stereotypes and oversimplifications in very complex people.
You never can take for granted that you have a job.
You never know when you'll have a bad idea for a worse joke.
You think of George Washington, this man who was larger than life, and in some ways he was. But at the same time, he's just a person.
I'm just looking for things to steal [on working with great actors]. It's like going back to acting school. When you're around people that do it well and you get your head out of your ass, you can really learn something.
If it doesn't feel like a job and I'm learning something and getting that rush that I get, I don't care if it's behind a camera, on a TV set, or on the moon.
Maybe I'm naive, but I subscribe to the idea that nobody is actually making strategic decisions about their career. Trying to do that would be like playing three-card monte on Canal Street.
The place I feel most at home is when I have health insurance. I really don't care how I get it, whether it's on film, or television or waiting tables, you know?
I thought I was going to be a ballet dancer for awhile there. I had a good teacher at Interlochen, this arts' academy in Michigan, who taught me the importance of storytelling, and I really responded to that. It seemed like a long shot, but I always play the long odds.
New Orleans in an amazing town.
My dad is kind of a rascal, like in a Dickensian sense. He just goes from career to career.
I'd consider myself a flailing comedy writer.
Every job is an opportunity to be a better person.
You know, 1% of us is in the armed forces, protecting the other 99, and they're all volunteers.
Don't trust somebody that don't have a troubled period.
Even the greatest actors have had dry spells where they've wondered if they were going to work again.
I always felt that if somebody picks on you it's because they're not happy doing what they're doing.
I can always go back to construction. That's great money, but the problem is you can cut off your hand.
I only play projects with weird interpretations of presidents.
I went to Julliard and we did a lot of mask work there, and I remember thinking in class, 'When am I ever going to use this?
The vampire craze is kind of fascinating. We're interested in the idea of immorality and I think we're drawn to people or creatures who can give in to those base impulses and just be bad and not feel bad about it.
