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I don't think I'd be a good director because people would ask me, you know, "What is it? What's going on here? Where should I put the camera?" Or, "What's my motivation?" And I would say, "Do whatever you want!"
The last time I did a movie that needed a horse, I said: 'If it moves, I'm out of here.' The worst thing is, they know when you're afraid and act up accordingly. I've had them run off on me. Horses I do not like.
There's not a lot of talking between actors - either between actors or between actors and directors. People think that they sit in rooms and talk about psychology and motivations. I don't think that happens much.
I think if you do something effectively whether you're the lover or the comic or the action guy or the villain like I play; movies are very expensive to make. Chances are you'll get asked to play that part again.
In the end, there's still the Word, everywhere... In Heaven and it's Angels, the Earth and Stars, even in the darkest part of the Human Soul It was there where it burned brightest. And for a moment, I was blinded.
I think that sometimes when they see me in a movie they expect me to be something nasty. I mean, I play a lot of villains and you show up and they think maybe... That's why it's good to defy expectations sometimes.
I have made a number of movies that I have never seen. It's not a matter of ego. It's a matter of being disappointed. It's really a shame. It's just as difficult to make a movie that no one cares about as to make a hit.
My life is really quite conservative. I've been married nearly 50 years. I don't have hobbies or children. I don't much care to travel. I've never had a big social life. I really just stay home, except when I go to work.
There are people who are able to plan their career, their future, but I've never had any talent for that. I just do things and hope for the best. Say yes, take a chance, and sometimes it's terrific and sometimes it's not.
If I show somebody something that I've written and they say, "Eh...alright," I just put it away and I never show it to anyone again. But I know people who won't take no for an answer, and eventually someone pays attention.
I like to stand in my kitchen with the script on a counter that's about chest high. Usually I do something else at the same time - make a chicken or slice vegetables - and all day long I just read it over and over and over.
I grew up in the '50s, in New York City, where television was born. There were 90 live shows every week, and they used a lot of kids. There were schools just for these kids. There was a whole world that doesn't exist anymore.
I've never done that [fighting for arole]. You hear about actors going in and saying, "You've got to let me read for this!" I've never done that. Lots of parts I've wanted and didn't get, but I think any actor would say that.
I like cats a lot. I've always liked cats. They're great company. When they eat, they always leave a little bit at the bottom of the bowl. A dog will polish the bowl, but a cat always leaves a little bit. It's like an offering.
In the theater you rehearse in order to do the performance. And in the movies the rehearsal and the performance are kind of the same thing. You're figuring it out and hopefully the camera is pointed at you when you're doing it.
I've been very fortunate, because I've been involved in things that very often lead to obscurity. I was in some pictures that were not successful whatsoever. I think people admire persistence. People notice that I'm still there.
I'm in a place in my life where I get offered parts that I didn't get offered before - fathers and uncles and grandfathers and so on. And it took me a long time to get to that place, but I'm glad because it opens up new territory.
I feel like you are this or that because other people say so. I wouldn't know how to play a psychopath. I don't think about it that way. You think about playing the scene but if the other people say that guy is crazy, then you are.
There are certain directors where you know you're going to be good or you're not going to be there. There are people where you kind of know that if you miss the mark then it'll probably not be in the movie and that's very reassuring.
I wasn't a trained actor, I was trained in musical comedy theater, and when you do that, the audience is completely part of the thing. It's like Elizabethan theater. You play the scene, and then you turn - the audience is part of it.
I'm a better actor now than I ever was, I wish I could have hurried that up, but there's no way. Anyway, I always wanted to be around for a long time. Like a European actor, I hope I live a long time and that I'm acting until I finish.
I think early on I knew what I was going to do and it was based a lot on familiarity but it was also because I didn't have a lot of skills. There was nothing I wanted t be. I didn't want to be a doctor. I wanted to be in show business.
An audience is the most dangerous thing in the world, because they paid, and they're looking at you. And they paid! And there's a lot of them! And they cast a cold eye, because they paid. To be on the stage, you have to be very secure.
And I think that when I play these villains, maybe what is different is that the audience sees me play these and they know that that's Chris and he's having fun and he knows that and he knows that and you know that and everybody knows that.
I've made movies that I thought were okay, but then I was very good. And sometimes you're in a movie and you think, 'I wish more people saw that' - because you're good. And it just works out that the movie gets lost. But that's show business.
When you're onstage and you know you're bombing, that's very, very scary. Because you know you gotta keep going - you're bombing, but you can't stop. And you know that half an hour from now, you're still gonna be bombing. It takes a thick skin.
I don't know why people eat so badly. I could eat pasta all the time, but it really is fattening. And I love ice cream, but I can't do that. There was a time, until I was in my mid-forties, when I could eat a whole pizza - and really, no effect.
I remember that. I was talking to him and I said how great it would be if actors had a tail because I have animals and a tail is so expressive. On a cat you can tell everything. You can tell if they're annoyed. You can tell whether they're scared.
I'm a character actor. I have to find work in good movies where I can make something of my role. I'm a very lucky guy to be in that kind of position. It's like a kid who dreams of becoming a baseball player and then he gets to play for the Yankees.
I'm an angel. I kill firstborns while their mamas watch. I turn cities into salt. I even, when I feel like it, rip the souls from little girls, and from now till kingdom come, the only thing you can count on in your existence is never understanding why.
When I was a kid, I worked in the circus. It was a touring circus that was owned by a man named Terrell Jacobs. It was just one big tent, and he was a lion tamer. He didn't have any kids, but the bit was that I would dress up as his son in an identical outfit.
You know, there's nothing you can do about your public image. It is what it is. I just try to do things honestly. I guess honesty is what you would call subjective: if you feel good about what you're doing, yourself, if you figure you're doing the right thing.
One thing that's happened to me is I've been around a long time and I've played a lot of villains and so forth. I think it had to do with, well one thing is that I looked younger than I was for a long time. Now I think I'm suddenly starting to play people's father.
I've never crashed a wedding. When I was a kid I, of course, used to crash parties. Crashing a wedding is difficult though because you have to have the suit, and you have to have information in case someone catches you. You have to know at least some names and something.
Too many young actors are strutting about and doing films without having developed some of the depth you need to bring off certain kinds of roles. I think that's the problem with the system, where a lot of younger actors who haven't had a chance to develop suddenly become stars.
Early on, I played one or two disturbed people, and I guess I must have been good at it, because it stuck. But, you know, I'm a regular guy. I stay home a lot, I make an effort to keep a distance from the whole social thing, the openings, the parties. I try to live in a calm way.
Growing up in New York is like living in a horror museum because there are so many strange people walking the streets and riding the subways. You learn to develop a tough front if you live here, just in case you get into any kind of trouble and you need to talk your way out of it.
I don't like flying at the best of times. And as I get older, I like it less and less. I don't much like driving, either. I prefer to be driven. And, when I'm in London, I don't even like walking on the street. I can never get used to looking the right way when I cross the street.
I've made movies that I thought were good. I've made movies that I thought were okay, but then I was very good. And sometimes you're in a movie and you think, I wish more people saw that - because you're good. And it just works out that the movie gets lost. But that's show business.
When I'm on the road making a movie in another city, on my day off, I always go to the movies. I love going to the movies. You get a ticket and sit there, and it's very interesting to be around people who aren't personally invested in you, in any way. They're just going to the movies.
You hear about things happening to people - they slip in the bathtub, fall down the stairs, step off the curb in London because they think that the cars come the other way - and they die. You feel you want to die making an effort at something; you don't want to die in some unnecessary way.
There are movies that I've made where I thought I was going to be good, but when it was cut it together it wasn't. And there are a lot of movies that, for one reason or another, just don't become popular. So to me it's always been a little bit of a roll of the dice. That's the way it goes.
I do like to work. Some jobs are better than others. That's the thing: You really don't know. I've enjoyed making movies for lots of different reasons. Sometimes, it was the other people. Sometimes, it was the fact that I was really good in it. Sometimes, it was the location. Sometimes, it was the paycheck.
I have this theory about words. There's a thousand ways to say "Pass the salt". It could mean, you know, "Can I have some salt?" or it could mean, "I love you.". It could mean, "I'm very annoyed with you". Really, the list could go on and on. Words are little bombs, and they have a lot of energy inside them.
It's very bizarre though when you get hired and then the director will say, "I know how this goes." And you're thinking, "Wait a minute, I thought that I was doing this" but basically what they really want, especially if they wrote it, is they want you to do it as they imagined it. It's virtually impossible.
Laurence Olivier said in an interview once that when he plays a tragedy he always aims for the funny parts, and the other way around. Because in a comedy you look for what's serious. I think that's true. Sometimes things are really funny if you're absolutely earnest. If you're really serious, it's hilarious.
I get a lot of invitations, and sometimes it's far away, it's in Montana or something. "We'd like you to come to our daughter's wedding." These are people I've never heard of. I get a lot that. "Will you come to my son's graduation?" No...I guess when you're in stuff, it's almost a feeling that they know you.
It takes a very long time to read a script. I'll look at a script, but there are so many scripts. I remember once being at the dentist, and the guy was doing my teeth and telling me about the screenplay he'd written and he said, "Will you read it?" And I said "Oh...okay." And it turns out that it was about a dentist!
For me, in movies, it's always a mixed bag. I've never made a movie where I thought, "You were really good in that movie; you were good all the time." No. It's always, "You didn't get it, you didn't do it in that scene, but the other scene is pretty good." So I just hope that in balance there's more good scenes than not.
A good actor is like a racehorse or a Ferrari. If a cylinder is missing on a Chevy, it's doesn't matter that much. But if something's not working right on a Ferrari, it makes a big difference. It's the three percent that makes the difference between good and great. It's a fine line. If you're not there, it's very painful.