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.

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

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.

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

The virtue of the country is that it makes you thirsty for the city.

I came to New York in 1962 and it began to look like I might he able to make a living in 1972.

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.