I was raised with a single mom and we had a very specific, very particular relationship. She worked with me and my job. I was almost three and we traveled everywhere together and she was really in my life in a really profound way. The most significant relationship of my life. It was beautiful and also an incredible, difficult struggle. I know how creative that life is, and how difficult it is to figure it out.

I don't really think I have the personality. I am not very external. I don't want to dance on the table and do impressions. So I think that the way I approach it is really loving story. That's my first love - the words. The words and the story and how to create images. I guess I come at that as a director. I think that's much more in my personality to be a director, so that's kind of informed my acting.

I aspire to be able to appreciate and review a director based on their accomplishments and based on who they are and what they bring to the material, regardless of their gender.

Any actor working a long time should know how a shot is set up, where to place themselves, how to handle the lines. I'm a member of the crew, like the best boy, the electrician. What I'm good at is making eyes at the camera.

I wish people could get over the hang-up of subtitles, although at the same time, you know, that's kind of why I'm kind of pro dubbing.

We think, "If I have more money, I am more valuable. If I make more money, I am more valuable." It's all sort of wound up with this problem that humans have with their failure.

I think I missed all of the wonderful things ... I missed the control that you have in film, and I missed getting it right, really getting it right, the way you hope people will see it. All of the things that people love about theater - the fact that it changes every night and that it's so spontaneous - all of those things just frighten me.