That's where I'd like to be: when the business says here's a good actor who is marketable so we can use him. Just that.

I've always done what I thought was good if I could live on what they were offering-and sometimes if I couldn't. So even when I was broke, my career didn't lack for interest.

Shakespeare is the one who gets re-interpreted most frequently.

The bad guys dont always get punished and the good guys are not necessarily pure.

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.

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