Its the difference between instinct and intuition.
My publicist told me not to talk about politics but, yes, I think we have a president who stole the election.
As soon as you know what you're doing, you're doing it wrong.
I'm not that interested in working with impervious people.
I think that everything I've ever done at some point is part of someone else's legacy.
Flaws reveal a lot about a character and who people are. The flawed elements of a character are where I find their humanity. Those are the things I tend to identify with - the weaknesses. I don't know why, but I identify with struggle more than with success.
He was very supportive of me, ... He saw every single play I did in New York. Ill never forget looking out into the audience and watching my brother, who was 40 years younger than my grandfather, sleeping in his chair during some of my early plays. My grandfather Alex never fell asleep.
There's the private persona and the public persona and the two shall never meet
I don't think I've ever been a huge target for the press, and I value that to a degree, because there's a certain value for actors staying beneath the radar so they can play characters.
Someone very smart once said to me, "Steal, don't borrow." So if there's anything good in anything anyone else does, it's fair game. I think that everything I've ever done at some point is part of someone else's legacy.
I think it’s really, really important to mix it up as an actor, to try to get as much kind of varied experience as you can, not only for your own personal growth as an actor but for the audience to keep them guessing about what you’re going to do.
Don't hit people; don't let it get you too angry; remember that everything you do can and will be used against you. And take a breath and have some perspective.
If you fall in love with somebody you're working with, fine, but wait till your project is over.
If I'm doing my job as an actor, the audience knows everything I know about the character.
You are what you know, as an actor, so you gotta try to know as much as you possibly can.
Film is such a bizarre vehicle for acting. It's such a bizarre experience. I don't think you ever really get familiar with it. If you do get familiar with it, you're probably not that good anymore.
I direct in the same way that I act, which is thinking about what the scene needs.
I want to forget what I've learned about the character, but the reality is that you can't, because you've absorbed it. It's there in that moment when you need it. The hard part is to trust it.
As soon as you know what you're doing, you're doing it wrong. That's what I find with acting. As soon as it becomes padded, it becomes pat.
You always have to create the character from the ground up.
I'm drawn to people who share that sense of loss. All actors are trying to repair damaged relationships. I think that might be why I've been drawn to other actors.
And I think for me theres a lot of neurosis involved with where you should be or thinking about where you are all the time instead of being where you are.
I actually loved Winnipeg. Everyone told me I was going to hate it, but it was great.
I was always curious about motivation and intention, and really, that's a lot of what acting is.
Style, no matter how outrageous it is, is still an expression of someone's personality. And my personality is somewhere stuck in the classics.
