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My parents weren't involved in show business, but my parents would show me. We'd watch old films in the house. Little film festivals of Westerns and stuff like that when I was a kid. I knew I wanted to be those guys in those movies before I knew what being an actor was.
We haven't lost romance in the digital age, but we may be neglecting it. In doing so, antiquated art forms are taking on new importance. The power of a handwritten letter is greater than ever. It's personal and deliberate and means more than an e-mail or text ever will.
I have definitely noticed that I care less about certain things. Other actors are like: "You can't do that", or "You can't do this. This will position you in the wrong way." That's not my thing. And obviously so, because you can see I don't craft or cultivate my career.
I'm open to any project, but my joyful projects are those through which I can say something and through which I can speak to the an audience of people in the world, and I can be that vehicle through which something can be said, I find that entirely thrilling and joyful.
I've had people ask me: 'How can you make a movie about a murderer? A terrorist?' What they don't understand is that I'm in support of everyone who appears on screen. I have to be. I take the position of everyone who's on screen. I'm not judging them one way or another.
They were on the set of Bad Santa, but I tried to keep the headphones away from them. My kids have seen Sling Blade, Armageddon, Bandits and Friday Night Lights. They have not seen Monster's Ball and nor will they ever. Even when they are 60. I will leave it in my will.
There were days on that show where I had to go in and record a song, then I had to rehearse the dance for that song, and then I had to go and shoot a separate scene. That would be one day. So yeah, it was about the value of time and being prepared, and not to freak out.
I didn't do so well at 'Saturday Night Live.' It was a very hard experience for me, for a lot of reasons that have to do with the kind of person I am and the personal issues I had at the time. I was very alone in New York, and the show has a lot of stress related to it.
It may be a brief interruption - just a few seconds - but what if someone sitting near you is trying to make a decent bootleg? Did you ever think of that? Now all those street-corner copies are permanently defiled by your so-called 'emergency.' Don't be so damn selfish.
I really enjoyed Eddie Bracken. He told me a great story. He did The Odd Couple on Broadway, replacing Art Carney, and he said, "Art Carney did it for six months and I did it for three years, and I don't think anyone I've ever spoken to saw me. They all saw Art Carney."
I guess the one thing I really learned from participating in sports was to just never say "no", never stop trying, and to always believe that you can do better than the next fellow. I tried to follow this throughout my life, but I always tried to be respectful about it.
You don't try any less hard on the ones that don't. I've gotten lucky to work with some amazingly talented people that have helped the ones that have worked work. I think you just have to keep doing the stories you love and the characters that you love and are drawn to.
When I worked with Woody Allen, I only got the parts of the script that I was in. I was able to piece together the narrative from that, but I remember being quite excited to watch the movie - the movie that I was in but didn't know what happened in, like, 65 percent of.
Somebody like me - I am a member of the Global Military Advisory Council on Climate Change, we've been at this for several years now. To have somebody like the Prince of Wales talk about something [like climate changes] elevates that conversation to a much higher level.
Oh, I have this feud going with the L.A. Unified School District, because I keep getting these phone calls saying my daughter keeps missing classes, I mean, at all hours of the night, I had like, two calls this morning and I keep calling saying I haven't got a daughter!
There was a great complexity to my father. He was a devoted family man. But, in the same breath, he simply was not suited to an anchored life. He should have been somebody who had a backpack, an old map, a bit of change in his pocket and that was it - roaming the world.
I owe my whole acting career to the fact that I'm a singer. I went out to Los Angeles and auditioned for a TV show called 'Fame L.A.' The original role was for a comedian, but they said I wasn't very funny, so they asked me, 'What else can you do?' So I played a singer.
When I first began acting, I assumed an intellectual responsibility attached to my profession, which I had accepted for a long time. My father taught me that an actor had to have a social and political conscience, and that the work that he does has to reflect from that.
Most people who'll remember me, if at all, will remember me as an action guy, which is okay. There's nothing wrong with that. But there will be a certain group which will remember me for the other films, the ones where I took a few chances. At least, I like to think so.
There was a stool there, and some fella kept asking me if I wanted to sit down. When I saw the stool sitting there, it gave me the idea. I'll just put the stool out there and I'll talk to Mr. Obama and ask him why he didn't keep all of the promises he made to everybody.
Sometimes you have to play like it's a little bit warmer, which is hard when you can't feel your face. You just try and do the best you can and make sure that you become really good friends with wardrobe, so that they give you all sorts of hand warmers and body warmers.
I suppose I look for humor in most situations because it humanizes things; it makes a character much more three-dimensional if there's some kind of humor. Not necessarily laugh-out-loud type of stuff, just a sense that there is a humorous edge to things. I do like that.
I think time travel is really tricky. But if there's a logic and a complete and well-thought-through paradigm for it, I think it can be really interesting. Some of my favorite time-travel movies just make me think and, you know, the 'what if' question becomes a big one.
I'm in a real minority as far as having really supportive parents in regards to the arts. They never batted an eye as far as not letting me do that stuff. That's invaluable. I can't believe how unabashedly supportive they were about everything, between music and acting.
I'm one of those actors who says, "Point me toward the work that matters to me and I don't care where you're putting it. Television show. Movie. Projected on the back of someone's garage." If that's where the work is that's exciting to me and moving, I want to be there.
The joy of my career is I've been very blessed to be able to be an actor in major films, television, theater, and also British radio. In fact, my dream as an actor when I started out was to be able to work in all the media. Thankfully, that's what I'm being given to do.
I can remember, after I started doing films, my mum began going to more arthouse films. She went to see 'Edward Scissorhands' and phoned me up and said: 'What was that all about? He had scissors on his hands.' Good question. I think she should review films on Channel 4.
I was someone who was out of control and not to be worked with. It was partly because method acting was a new thing in Hollywood then and Marlon Brando had gotten through and Montgomery Clift had gotten through and James Dean but beyond that there wasn't really anybody.
I trained for the drums for about two weeks, and then rocking out in front of an entire crowd was sort of like a dream come true. And now, Guitar Hero, I can't do that anymore. It's nothing like doing it on stage. I kinda wish I had a fake band, and we could go on tour.
You have to get the casting right. You have to get the people behind it. Your director might not be the right director for the project. And then, it has to test and those people in that room, wherever they are, have to turn those buttons the right way at the right time.
I play guys who are willing to go really far. If the dung really hits the fan, I don't know if I could walk the talk. But anyone who isn't willing to die for his convictions isn't worth living. My characters, no matter how demented they are, they have their convictions.
I stay true because whatever the project is, I'm still looking for inside of that character. It's the thing that connects him to me and to everybody else. So, the search is the same. It's to unveil the truth, and that's how I stay true, because my purpose isn't altered.
I was always very interested in the storytelling decisions that went into directing. It just held this real allure for me. You know, if we're doing a scene at a dinner table, they weren't all shot the same. 'Why was the camera here for one moment and there for another?'
I know how to create and make people feel something. Honestly, if I didn't do this, I would just have some minimum-wage job in New Mexico, and I would go out on the weekends and make just enough money to pay my insurance and pay for a couple beers, and that would be it.
I came from the stage so it was a different kind of acting, or a different arena of acting, and I just loved to do it as a kid. It's really gratifying to get to create these different characters and to get to create different voices and to get to wear different clothes.
When Arnold Schwarzenegger vetoed the same-sex marriage bill, my blood was boiling. I had been silent, but that night, Brad and I watched the news and saw all these young people pouring out on Santa Monica Boulevard venting their rage, and I said, 'I have to speak out.'
If you are for freedom and equal rights, which we hear a lot of talk about these days, then you have to include the LGBTQ community in that. And if you're not willing to put your time where your mouth is, then I don't know quite what you mean by commitment in your life.
There may have been great scripts, and perfect actors to fill the roles, but those pilot projects could be stopped at an earlier point. Now, damn near anything can get on the air, but who can get people to watch? There are a lot more choices, even if you get on the air.
If having true love and love that is expressive and free outside of work affects a project where you have to be restrained and in denial and fixed and closed off. This doesn't mean you go out and just destroy your love outside of your life and kind of mirror your movie.
Broadly speaking, there are two kinds of acting: character acting and lead acting. And in my life, to begin with, in the 1980s, it was all character acting. And then when, by fluke, through 'Four Weddings', I got into doing lead parts, it's a completely different thing.
At the end of drama school, I made a contract with myself: I'd try acting for five years. I was 26. I had already spent eight years working in restaurants and gas stations. So I had seen enough small businesses to understand that that's what acting is: a small business.
Before acting, I wanted to become a journalist. I also toyed with the idea of being a chef - but that's only when people asked me what I wanted to be. In fact, I always used to say I wanted to be an actor, but I didn't ever believe that I was good enough to be come one.
The role of my agent has just been to get me in the room. If I can get in the room - say the character is just a charming man who lives next door - then I'll walk in there and be as charming as I can and they will think to themselves, 'I don't see why we can't cast him.
I feel like my life experience is that of an outsider. Let me explain: my parents are from Panama, and they moved to the United States the year after I was born. They moved into an all-white neighborhood, where the previous black family had a cross burned on their lawn.
Ideally, really ideally, you want to get to a place where you can have creative control over the material you do - choices, at least, anyway. And you want your choice of script and role. But do you really want your life to revolve around trying to maintain your privacy?
Technically, the green screen acting can be difficult because there's something worse than a tennis ball on the end of a stick; it's an Australian visual effects assistant running around a field with a cardboard dinosaur head on the end of a stick while wearing sandals.
I've just grown a little disappointed with 'Muppets in the Old West', 'Muppets Under Water' and all these weird concept movies. I just want to go take it back to the early 80's, when it was about the Muppets trying to put on a show. That's what I'm trying to bring back.
Every time you jump to another format in the 'picture business,' meaning film, television, commercials, the people in the other format go, 'Ah, yeah, you made a lot of features, but you don't know how to do TV' or the commercial people go, 'Oh, you can't do 30 seconds.'
For me, growing up, the downside of it was that as a kid you don't want to stand out. You don't want to have a famous father let alone get a job because of your famous father, you know? But I'm a product of nepotism. That's how I got my foot in the door, through my dad.
I think the same way about theatre, you go out there and you are creating a world for a moment that can actually have a real impact on people, present some kind of story that gives you something to think about when you walk away, feeling enriched - if it works out well.