For some directors, I'm the actor from hell.

It's always nice to anticipate working in something that you know people will have an appetite for.

People need to see what's going on, and they have to be exposed to the mechanisms that can help make it right.

I have the ordinary experience of having the blender bottom come off in my room upstairs. I have the ordinary experience of being anonymous when I'm in an airplane talking to air-traffic control, and they don't know who they're talking to. I have a lot of common experiences. What's important is to be able to see yourself, as having commonality with other people and not determine, because of your good luck, that everybody is less significant, less interesting, less important than you are.

[Jimmy] Breslin's [write] really great book on Branch Rickey. And Branch Rickey himself wrote quite a lot. There's some film and kinescope from television.

A bad guy in a movie has a lot of latitude for acting. He can walk up the wall, crawl across the ceiling, go piss in the corner and everybody will say, "Fantastic!" But somebody's going to have to catch that sucker. Somebody's going to have to play the guy who gets him in the end. And that's a better part.

Sometimes I try to improve the language, the lines, or the delivery, but I don't ad-lib because I think that makes it really hard for everybody else involved.