The environment forces you to be utterly dependent between "action" and "cut" because the environment is perfect on your fellow actor. So as an acting exercise, it's absolutely thrilling that the focus that we had to bring to each other echoed in life, echoed in art. And when you get that parallel, it's really thrilling and it's full of surprises, but it all has a logic.

I think that most actors, and they're a very strange lot actors, very strange people, but I think that they attempt to keep in touch with the child.

You need particular note or rhythm in the symphony to be that minor key, or that sharp key or major chord. In musical terms, I try to hit the right note. But not alter the score of the music, just emphasize the note correctly.

Equal partners aren't always what we envision as being manifestly equal. Equality can come in many different shapes and sizes and combinations.

You want to know what I want? I'll tell you what I want. I want back what Bobby Fischer took with him when he disappeared.

I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives.

There is always something about the villains that I'm able to play, quote unquote, that isn't villainous.