When you introduce a character and show him for the first time, don't show him fully lit. Don't show him one hundred percent to the audience. Show maybe fifty percent or sixty percent so the audience can fill in the dark spots.

If what I think is God should come down today and says "I'm God, or the thing you call God, and you're never going to do any more movies. You're never going to do television. You're never going to do theater again in your life," I would just say "What are we doing? What is the next step?" That's how I try to approach it.

I usually say I might have a talent or I'm lacking a talent, because everyday, I must tell you, I thank whatever is up there or out there that I'm alive and that I get to do what I'm doing, and I think that sends off a lot of good vibrations in different directions.

If you do a character, always make the character with a big question mark. Even if the character is very enigmatic and all over the place, make him always with a question mark, because if you turn a question mark upside down, like they do in South America in Spanish, then it becomes a hook.

My mentor, [Ingmar] Bergman, when we worked on stage, he said you can't convince a thousand people at the big stage where we were working. You can't convince everybody, but just pick one every night that you perform for and make sure that he or she will have an experience that alters their life in a more positive way. So, just one every night. That's worth all the struggle and screaming.

I dislike those people that see an opera and say "Oh, they can't act it. They just sing. It's boring." Lean back and just listen to the voices.

Arnold Schwarzenegger, Bruce Willis, they make bad movie after bad movie.