When you hit your strive, and you feel confident in what you're doing and in your process, you really want to do more and try lots of different things. I've also really worked on my breathing, which is a funny thing to talk about, if you're not an actor. I think breathing is actually the key to a lot of opening up of other parts of yourself that you haven't used, for any job, but particularly in acting.

I worked hard and made my own way, just as my father had. And just, I'm sure, as he hoped I would. I learned, from observing him, the satisfaction that comes from striving and seeing a dream fulfilled.

If one is married for a long time, and one does have a family . . . It is like an energy, a wonderful fire that never goes out underneath you, to help you go out into the world and do your damnedest.

I actually have a long apology letter from Robert Brustein, saying, "I'm so sorry this happened to you. I didn't realize the people who were running the acting department at the drama school hated actors." They did. And they were fired when I graduated.

I actually think the reason I am interested in certain parts is because I was such a dweeb in high school. When you are such a loser, it's a helpful way in to a lot of characters because even very powerful people are not all that powerful really. They all had a high school. That vulnerability is completely permanent and, as an actor, it's a good thing.

I love working with young people and young filmmakers, and I love working on first films. I think it's cool. It's fun. I just take it as it comes.

I love working quickly. I don't like to do thousands of takes, and I don't want to do thousands of set ups.