For everybody that does something bad there's gotta be someone that does something good.
You have your vision and you need to be focused, but you have to listen. I never felt a sense that the wheels were going to come off because we're all friends and family. It was all good.
I love making movies, but there's nothing like being in front of an audience.
I don't concentrate on if a moment is scary or not. That's not my job.
I think the balance is between what you can get, what you want and what wants you.
I am fascinated with religion or things that people believe in and question that. I think it's interesting.
I always grew up around acting. I did commercials as a kid and all that kind of stuff and my oldest brother did theatre in High School. It's funny, when I was 15 I had a friend of mine who dragged me away to a camp at Boston University. It was the first time truthfully that acting didn't feel presentational; it felt very personal. I didn't just feel like I was singing and dancing for my friends in High School. It felt like I was doing a scene and all of a sudden I started to feeling something - I started to feel emotional.
When I met Harrison Ford I just kept thinking: "At what point do I break out my Star Wars memorabilia? When is it OK to have him sign something? Will he? And will I look like a total idiot!" The only time I ever got anything from another actor to sign was for my brother or my kids because both of my brothers are die-hard Star Wars fans.
Emasculation does seem to be a theme in the roles that I choose.
I've always had good relationships with directors. I'm one of those people where, if there's a good idea coming from the sound guy, I'll take it. Filmmaking is a collaborative effort, whether it's a first-time director or it's Mike Nichols. I think that's the standard that the great ones set.
I didn't win prom king. By that point, I'd quit sports except for soccer, so I was really just a theater guy. I totally lost to the captain of the football team.
I've got whole years of unfortunate clothing in '80s.
For me, I always have to establish a reality for the character. In very actor-y terms, you just have to understand his reality.
You don't ever see a thriller with a spiritual backbone.
I try to shave at night so my skin has a chance to settle by the early morning call-time.
When you're younger you don't care so much, but as you get older you have a family and stuff like that. But I've always kept my foot in theatre and I've kept my foot in independent film, so I'm really happy going back and forth. So, if I can't find the meaty roles in studio films, then I'll go back and dig up a little independent where I can flex my muscles a little bit.
I am an avid runner, mainly on weekends.
I think your teenage years define your musical roots forever. You're always looking for a theme for your high school years.
Honestly, if you're just going to be the love interest then at least let it be a really good movie. Not every role is going to be Hamlet, I know that.
Mike Nicholls saw me in the musical of The Full Monty and brought me in to audition for Angels in America for HBO. And that opened a lot of doors because you could go to LA and say: "Well, I'm starring opposite Al Pacino and Meryl Streep..."
I don't like being lied to.
Somebody can paint with a fine brush like Monet and do millions of little dots or somebody can splatter it up there like Kandinsky or Jackson Pollock and go "Yep, that's art." That's okay.
When I look at a character, whether he's good or bad, one scene or 10 scenes, I just have to find my way in.
I just don't watch a lot of TV.
In a normal movie, you'd never see one guy talk for an entire page, whether good or bad.
