As a kid, I had a crush on Sophia Loren and Raquel Welch.
Death is not my best subject.
Ice-T was just a pleasure to work with. He was a smart gentleman.
It's like they talk about how American actors have the method and English actors just kind of switch views faster. And John [Hurt] is telling me the story as he's sitting in that witness chair, and they're putting the final touches of makeup on. And he goes, "Hold on a second," to stop his story so he can do the take. And he does this incredible take. They go, "Cut." And then immediately John goes, "Anyways, so Alec, he's playing the chess." And I'm just going, "Holy crap." You get whiplash from those kinds of quick turns!
I just couldn't go back to Suddenly Susan after David Strickland's suicide. I didn't see how we could make the show light and funny any more.
Catcher in the Rye had a profound impact on me-the idea that we all have lots of dreams that are slowly being chipped away as we grow up.
A fancy watch, it's completely unnecessary. I just need a watch to tell the right time.
John Hurt was incredible to work with.
I'm involved with Recording Artists and Actors Against Drunk Driving. I'm also involved with most children's causes, because children can't help the environment they're in.
I would go to trials a lot in Boston, as best I could. And it's incredible that, like, lawyers that had a good case weren't dramatic at all. Lawyers that had a horrible case would sing and dance and do whatever it took to convince the jury or the judge that this guy was innocent. So that was a cool thing to see because that made me believe that what the script [of From The Hip] was doing was totally believable. Now, maybe not ordinary. But it could happen.
I was just in a few episodes the first season [ of Empire]. They didn't kill me, but I haven't been back in season two or three. I don't know if they have plans for me or not. But I enjoyed working on it. And I think it's a really talented group of actors and, boy, very enterprising to try and shoot those every week, you know, with musical numbers and all that stuff.
I like Chicago. It's a great city. It's always fun to revisit it.
Santa Jr. I was a cop. Yes, I was officially Santa. But a younger Santa. He goes young, clean-shaven, to how we imagine Santa with all the white hair and beard and "Ho ho ho." Kind of funny.
I wasn't Santa in Santa Jr., but I was Santa in Cancel Christmas.
I got to play Santa, too. It's really important to play Santa, you know.
[In The Dark Backward ] someone who has writer's block and kills people in A Cabin By The Lake. I guess he's a type of serial killer, but I don't know.
I play a garbage man who moonlights as a stand-up comedian. Terrible.
The Dark Backward. Bill Paxton is in it with me. Wayne Newton. James Caan. Adam Rifkin wrote and directed it. It was made a number of years ago and very odd. Not for the squeamish.
Kim Coates is really funny. He's a blast. If you have to get beaten up and tortured, he's a good guy to get tortured by.
Trace Adkins doesn't talk too much, but when he does he's got great stories. He's lived a great life.
Trace Adkins is such a great guy. Really is. And he's got that incredible voice - low, deep. He throws words around like "my dental coverage."
Fandango is not really a Western. It's really just set in Texas. It's a road picture. And then I did one that hasn't come out yet called Kreep, which is set in Texas, but it's not really a Western. But it has a more rural-Texas feel to it.
Stagecoach is really my first Western, actually.
Paul Gleason he was a great guy. I loved working with him.
Paul Gleason played the teacher. I just tortured him as best I could. 'Cause he wasn't one of the kids, you know, so it was okay. He was great.
