I enjoy listening to opera at home, occasionally, but I would much rather see it than just listen to it.

We're paid to care. That's what actors get their money for. But the main goal is not for the actors to be frustrated at the end of the show, but for the audience to be throwing their shoes at the television set. That's what we're trying for.

I dont think playing a villain is my greatest talent.

If I have to be typecast, I'd like it to be as Abraham Lincoln.

Separation is painful, and there's such a thing as doing it too much - the limits are how much it hurts.

Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.

I played Lucky in Waiting for Godot at Yale and it was a thing that Stanislavski talks about: he says you don't need his 'method' if you can count on your inspiration and it was a moment of inspiration that came to me, not in rehearsal but on stage. It hit me right there in the middle of the play and it was great - it travelled into immediate communication.