Obviously the first roles that you’re proud of are the ones that everybody else liked too.
I literally was saved by a role, from becoming a cab driver. I never did have to wait tables, though, so looking back I guess I had it pretty soft.
Good directors say, Here’s where the play is. They stand by the heart of the matter. Some of them stand beside it.
If you’re not moving forward, you’re falling back.
That’s where I’d like to be: when the business says here’s a good actor who is marketable so we can use him. Just that.
Separation is painful, and there’s such a thing as doing it too much – the limits are how much it hurts.
In order to continue to do interesting work, you need to be…proceeding.
I’ve been able to do things that allow me to hold my head up and still be popular.
I don’t think there’s anything to be desired in a bunch of people chasing you around, trying to get a piece of your clothing.
As for lawyers, it’s more fun to play one than to be one.
I enjoy listening to opera at home, occasionally, but I would much rather see it than just listen to it.
I played Lucky in Waiting for Godot at Yale and it was a thing that Stanislavski talks about: he says you don’t need his ‘method’ if you can count on your inspiration and it was a moment of inspiration that came to me, not in rehearsal but on stage. It hit me right there in the middle of the play and it was great – it travelled into immediate communication.
Instagram Share
