I see a steady downward slope toward oblivion over the next three years. I'm pessimistic. Everything that's happened to me so far has been kind of flukey. I went into Twentieth Century because I wanted to work for Hal Prince. The part was too small according to my agent. I had been doing only leading parts, and he thought I should continue that. But the part was enlarged in rehearsal: songs were added, and it became more physicalized and showy. Then I won awards and got attention.

I've never felt completely satisfied with what I've done. I tend to see things too critically. I'm trying to get over that.

But you have to trust your instincts. Because you're not going to try it 20 different ways during rehearsal. You'll try it two or three different ways, maybe, but then you've got five other scenes you're shooting that day. You've got to keep going.

The worth of a life is not determined by a single failure or a solitary success.

The technique's many benefits for actors include minimized tension, centeredness, vocal relaxation, and responsiveness, mind/body connection and about an inch and a half of additional height.

I've got the Jewish guilt and the Irish shame and it's a hell of a job distinguishing which is which.

I think every American actor wants to be a movie star. But I never wanted to do stupid movies, I wanted to do films. I vowed I would never do a commercial, nor would I do a soap opera - both of which I did as soon as I left the Acting Company and was starving.