You can't always do the extraordinary, in between you have to do the ordinary. Because if you didn't, what would constitute the extraordinary?
Becoming an actor is like becoming a father. It's not hard to become one. Making a life of it is the challenge.
You need the villain. If you don't have a villain, the good guy can stay home.
Facts can be so misleading, where rumors, true or false, are often revealing.
If the shoe fits, you must wear it.
What it really is and what I now have experienced is that, people who take enormous pride in what they're doing - not in their person - that their work ethos is as high as nowhere else.That they love their jobs, they love to do their jobs properly as best they can. And coupled with the financial umph, you know, you get decent results.
I'm open to working anywhere, but not on anything.
You're always being cast for what you've been in last.
A silly comedy needs a straight guy, and that guy needs to be as straight as possible. The moment you start playing straight you're not straight anymore, you're bent straight, so it really requires the usual serious, straight-forward analysis and research, looking into it and finding the dramatic function, all of what you do until you feel you've collected enough points to safely and securely play the part.
My agent is the quickest, sharpest man on earth.
You know, I don't support esoteric approaches to acting.
I'm very bad with improvisation. I hate it.
I don't say things straight into the other person's face. I kind of like to make a joke or a remark and make it digestible or just give a little comment that voices my concern, but is not meant to be a critique, but just a comment so that he understands that I am thinking.
That's exactly what I'm driving at. 'Basterds' was interesting because it was, in a way, unfamiliar. I thought well, OK. Let's leave the comfort zone and just risk it. Why not? Because, exactly as you said, in a way, by taking that risk, I make up a little bit for my ignorance in the subject, or rather, the genre.
It's a wonderful narrative device to bring someone from the outside and look through his eyes if you want to describe the absurdity and preposterous reality that is accepted amongst the ones who are inside.
You know, I don't talk about the characters that I play. Years ago, I was a little timid about it and I kind of squirmed when I was asked, 'Could you tell us something about your character.' Now with a little self-confidence that comes with the grey beard, I just flatly refuse.
Ten flashing lights are a nuisance but 500 are fantastic.
I’m not really all that familiar with comic book culture.
I have always been so interested in film as a medium.
I think Stephen Sondheim is a - and I hardly ever use this word - but this is as close as it gets to a genius.
I take praise as not just a reward and a result but also as the beginning of a new process.
One does not contradict the other.Straight-faced is the basis of all decent comedy.
I don't like to read novelizations of movies.
I'm not into weapons. I'm not into cars. I'm not into explosions. I'm scared of all of that.
Comedy is the result of what's happening, not what people are doing. Because if people are doing comedy. It's embarrassing. The individual elements have to be straight-faced, serious, realistic with a firm basis. What makes it comedy is a somewhat shifted way to put it together.
