We want to be seen for who we really are, and each person has his own complex story and reasons for doing what they do.

I remember hearing someone say that good acting is more about taking off a mask than putting one on, and in movie acting, certainly that's true. With the camera so close, you can see right down into your soul, hopefully. So being able to do that in a way is terrifying, and in another way, truly liberating. And I like that about it.

Once I get on something, once I have something that I'm working on, then I become very obsessive. In a good way. I mean,... is there a positive way to say obsessive? It's a good thing and if you're out there and you're working on something right now and you're crazed and you're up in the middle of the night, or you can't stop thinking about it, or you have to keep reading other things about the subject that you're working on or whatever. That's good and I think that's necessary creatively.

Acting is not about being famous, it's about exploring the human soul.

Things either become unclear in a story or they're just ambiguous with no real point. So defined gray area with clarity that also works in the narrative, that's tricky.

It used to be the one or the other, right? You were the 'bad girl' or the 'good girl' or the 'bad mother' or the 'good mother,' 'the horrible businesswoman who eschewed her children' or 'the earth mother who was happy to be at home baking pies,' all of that stuff that we sort of knew was a lie.

All of modern acting comes from Stanislavski, who was the Russian partner to Chekhov. When Chekhov was writing his plays, Stanislavski was running his theater. And Stanislavski really was the first inventor of modern acting and then everything that came out of the method and Stella Adler and the great teachers really came out of him.