In order to continue to do interesting work, you need to be...proceeding.

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.

If you're going to be born ugly and be an actor - the least they can do is let you play Lincoln.

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.

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'm too old to be governed by fear of dumb people.

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.