I like, for instance, 'Serpico.' I enjoyed playing Serpico because Frank Serpico was there. He existed. He was a real life person and I could - I could embody him. I could, you know, I could work and get to know him and have him help me with the text, the script and become him. It's almost like a painter having a model to become.

The play is the source, it is orchestrated with words. In a movie, you are not dealing with as much as that. There are machines and wires. When you're acting for a camera, it keeps taking and never giving back.

Being the actors of the craft, the trade, one of the big things you do and you learn is about repeating. There is something to the repeats. I think that is part of what is healthy to young actors. Get out and learn something just through doing that, repeating.

They say we die twice - once when the last breath leaves our body and once when the last person we know says our name.

That's where humour lives for me. In the body. The Steve Martin kind of stuff or Jim Carrey, that's what I like. I've always felt that's what I would like to do.

I am more alive in the theater than anywhere else, but what I take into the theater I get from the streets.

It's never really that much fun for me to do movies anyway, because you - you know, you have to get up very early in the morning and you have to go in and you spend a lot of time waiting around.