The greatest inspiration I draw upon is, is this city (New York) and riding the subway and watching people and I find that's kind of like the best, the best acting teacher. You know, I wonder, like people who have huge celebrity, sometimes I feel bad, should this be one of their methods 'cause I don't know how they can observe life anymore, because they become the observed. So, I, I appreciate that New York can still do that.

If your body is excited to do something, that's what you should be doing. Or if it really scares you, you should be doing it.

Some jobs you do - maybe you don't - are jobs that pay mortgages and some are art and I don't care about not being paid on those.

You know, there are a lot of directors, like Clint Eastwood (on Changeling) is one where he casts you and you know in many ways that's enough for him and so, you go, ok, well, he saw something. Ok, what is it that he saw? What is it that I brought to this and why am I right for this and not trying to double-guess it and get in your own way and get psyched out, 'cause he trusts so much.

I really don't have a problem showing the ugly side of people. If that means my wearing no makeup, that's fine. To me, that's beautiful.

The Tonys are also kind of like a homegrown party. You know everybody.

It happens a lot, but I also think of it as not so much like being abandoned by a director 'cause they're worried about a technical aspect, but I think actually that's my job.