As for lawyers, it's more fun to play one than to be one.

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.

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.

I've been able to do things that allow me to hold my head up and still be popular.

I think the bait for doing something really is always the part.

If there's any business that instructs you in the strong hand of fate, it's show business. You can plan and plan, but it's what happens to you that really determines what your career will be like.

The Killing Fields, my character's teachings frame the movie and the argument of his lectures is the challenge of dealing with the painfulness of life in the absence of faith.