When you realize the writers start writing to who you are, you're basically reading reviews of yourself. And then it becomes this cyclical nightmare where I feel like I need to play into it, then I find myself acting like the character in real life.

When you audition for shows in Hollywood, you go in, you do your scene, maybe you get an adjustment. It's sort of easy, and a lot of times it just feels sort of rote and simple. Whereas when you go to New York and you audition for plays, you walk out sweaty and intimidated and nervous and doubting yourself as an actor.

I don't like horror, which is ridiculous because I've been in three horror movies, but when I see those things, I see camera tricks and fake blood and actors screaming and I don't know understand why other actors don't see that.

Goals aren't enough. You need goals plus deadlines: goals big enough to get excited about and deadline to make you run. One isn't much good without the other, but together they can be tremendous.

Fundamentals are right down to earth. And one fundamental is: You have to make calls. Nothing happens until you make a call. It’s that fundamental!

I rarely use the telephone because he may not want to see me. I have a better chance of seeing the man I want to see if I do go. Besides, switchboard girls and secretaries have become very good. They've learned to take you apart. 'Who? Why? What for? What company?' You don't always get by. I seldom call on the phone. I'd rather go.

I do not sell life insurance. I sell money. I sell dollars for pennies apiece. My dollars cost 3 cents per dollar per year.