I've studied Stanislavsky, and Mamet taught Stanislavsky, and I studied with Sanford Meisner. But the part of the method that I think is the most fruitful is the method of physical actions. It all comes down to your objective: Nothing else counts except what you want. How you feel will take care of itself.

I love directors who talk action as opposed to emotion.

A good actor's director, first of all, is prepared, so there's not an exorbitant amount of wasted footage.

Nobody became an actor because he had a good childhood.

The actor has the advantage - or the liability - of knowing, "It's going to be my face up there on the frickin' screen, so I better keep my wits about me. Nobody's going to care that I was bad because I was not happy. They're only going to know I'm bad."

One's complete sentences are attempts, as often as not, to complete an incomplete self with words.

Every scene has two people who want two different things, so there's conflict in every scene. You've got to duke it out, and you've got to get the other person to change his or her mind and do it your way.