I just have a gut feeling about something, if I really want to do it, if I'm excited about it, if I want to explore it. And that goes across all different sorts of genres.

It's not like I prepare anymore, or have to think about my son being dead to get emotional. If you're working with a good actor and you're reacting off of them and you have a good script, it just comes organically. It's just stored in your body. So that emotion will just be brought out of you, as opposed to trying to force it.

I don't really have a method or a technical process. I studied [Sanford] Meisner, and that's the thing that really works for me. That sort of instinctual, in the moment, what the other actors do, working off them and letting the story unfold, as opposed to having an idea of what the story should be.

I think a lot of people become actors because they have a great reservoir and repertoire of many different emotions they felt over their lives. It's like having a toolbox, and you go down into the toolbox and choose one or two of those that you need for a particular scenario, or something that comes up in a line.

I feel like, in a way, after doing it for so many years, you learn a certain concentration and how to turn it on and off.

I just want to use all of myself, for the rest of my life, in every facet of my life, as long as I live.

You serve the best by doing what you love the most.