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.

There are many things my father taught me here in this room. He taught me: keep your friends close, but your enemies closer.

I learned to wrestle, I learned defensive fighting at a young age, because when someone hit me, I would throw up and fall down.

I was never very happy with performing; it didn't turn me on much.

I'm an actor, and everything about me - the way I perceive things, the way I have seen the world - has been in relation to characters and how I would want to play something or not play it.

We're charlatans in a way, we're magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style, I did it in Looking for Richard, too. And I figure, if I can weave it into the actual play and get the audience interested, like the robes going up and down, they'll pay attention long enough to consume it.

When my mother got home from work, she would take me to the movies. It was her way of getting out, and she would take me with her. I'd go home and act all the parts. It had a tremendous influence on my becoming an actor.