Quotes of All Topics . Occasions . Authors
I tend to be very private. It's easier for me. When you're acting, you're very susceptible to comments that somebody makes, so if they know something is going to happen on the show, and they say something, it can actually throw you off. So I tend to not share things with anybody.
If you look at 'The Have and the Have Nots,' I didn't want to write a show where everyone is great and wonderful and perfect. I wanted to write it so that you're not really sure who the haves are. You look at Hanna, and you see that she doesn't have much, but she has great faith.
Interesting characters are troubled characters. The only problem I've had in my business is very few people - unfortunately, very vocal - confusing the difficult role that I play with me. I play these guys, but I'm not like them. I've been accused of being difficult to work with.
Working with David Cronenberg or Darren Aronofsky or even Steven Soderbergh isn't really like a typical Hollywood movie. These are true artists, and have a certain amount of freedom when they work, and they're more like independent filmmakers making their way through big studios.
I read where they are going to limit debate in the Senate. It used to be that a man could talk all day, but now, as soon as he tells all he knows, he has to sit down. Most of these birds will just be getting up and nodding now. Why, some of them won't be able to answer roll call.
When you're around the kids, you feel like you act the most grown up just because you're supposed to lead. I say things, like every other parent, that reminds you of your own parents. One thing I do know about being a parent, you understand why your father was in a bad mood a lot.
Find a partner, commit to taking action, and hold each other accountable. Helping our planet is not a one-person or one-country job; we need to be good partners and good neighbors to one another. Routine, measurable, and collective actions both small and large will make an impact.
The one thing I think I've noticed about shows that are supposed to be funny on television is that they've sort of become routinized, so there's an awful lot of mannerisms and joke lines that are sort of there to trigger laughter, rather than give actors a chance to play a moment.
To me, the Republican Party is the real great tragedy of the last 25 years because there are lot of good and decent people and a lot of good political points [that have] come from the Republican Party in the post-war period, but it has been hijacked by these fundamentalist wackos.
When you work with people and are friends with them also, you have more of a shorthand. I think people relax more and it opens the door to being less precious and trying things that, when you're shooting and writing, it becomes much more collaborative - therefore funny, hopefully.
My mom's whole side of the family, they're all Packers fans. My mom's a Bears fan. My stepdad is a Vikings guy. So that gets ugly. My mom sits upstairs watching the Bears game; he sits in the basement. They can't watch it together. Football's a violent anger in our family dynamic.
I went to the University of Vermont because I had a kind of unrequited love for this high school girlfriend. She wasn't even at the University but at another school nearby. But I thought if went to a school near her, just maybe... I was really remedial about girls in so many ways.
The first 'Star Wars' film was enormously important. I grew up right smack-bang in the sweet spot of all of those. It's true cinema magic. It's fair to say that, as a kid, I would have been very happy to be Han Solo, and I would have been happy to have gone out with Princess Leia.
In the U.S., it's like, you start with a great script, and then on set - not everybody, but definitely in the Apatow group - you go off, and you're improvising on camera. So while you're on camera, you're saying things that no one else has ever heard before during the actual take.
The studios don't seem to foster good writing. They're not so interested in that, but they're more interested in what worked most recently. They're definitely very serious about making money, and that's not a wrong thing, but you don't have to make money the same way all the time.
Whatever it is that's bothering me - interacting with annoying guy at a restaurant, contemplating my age, or losing friends to illness - I'll start to chip away at it. If you can poke holes in it, it's not as formidable; it's not as scary, and ultimately, it becomes another truth.
Some actors have to make a choice. If they have the opportunity to become these huge megastars, making millions and millions of dollars and have to live a lie, that's a choice they have to make. Not that I would ever be a big star, but I just had to live my life the way I saw fit.
One of the difficulties for me is that I'm naturally very skinny, so the problem that I have is trying to keep weight on, put weight on. I have to eat six, seven times a day, and I have to have a lot of carbohydrates to try and fatten me up so I have something to turn into muscle.
Every opportunity that comes your way, you can't take lightly. You have to take it very, very seriously, because the opportunities are limited. If you want to keep working, you can't be such an elitist, to say no, that's not good enough, not big enough, not smart enough, whatever.
It's over. The franchise is dead. The press killed it. Your magazine f**king killed it. New York Magazine. It's like all the critics got together and said, 'This franchise must die.' Because they all had the exact same review. It's like they didn't see the movie. Got any more gum?
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.
It was cool to me, as a fan of the comics, to see some of the villains that end up finding them there, and the way that they abuse Coulson before the superheroes come. I'm always, in the movies or in the animated series, getting into trouble that a superhero has to bail me out of.
I just think it is important that you realize, that you're the best in the world. Whether you are a Democrat or Republican or whether you're libertarian or whatever, you are the best. And we should not ever forget that. And when somebody does not do the job, we got to let them go.
I'm just naturally gravitating towards different things. As you mature, different subject matters. And as you're older, you can't play as many parts, or you shouldn't be playing the parts that you used to play. But also there's the opportunity to play parts that you couldn't have.
I'm always looking for a chance to do something different. I don't necessarily want to repeat myself, at any time, and I don't want to just do the same guy, over and over and over again. I want to be able to do different things and to evolve and constantly try to find those roles.
I remember coming back to the U.K. after spending five months in Charlotte for 'Homeland,' and I just found myself just wandering around London. There's nothing like it - the buildings, the architecture, the sense of history, the sense of culture - there really is nothing like it.
You always want to look your best at events like the Globes, Emmys, or Oscars. It's a part of the business that I am not particularly comfortable with. I would prefer to turn up in a pair of jeans and an old shirt, but it's all about image - the studio wants you to look your best.
The ebulliently sharp mind of 'White Christmas' director Walter Bobbie made me tremble and strive in the same breath. The deceptively 'simple' dialogue of David Ives, asking every actor to just. say. it. Float it on the breeze; it doesn't need 'explanation,' just energy and truth.
I admire many actors, though I don't think there's anyone whose career I would want to mirror sort of by the beats. What I'm really looking to do is constantly defy expectations. I'm very curious to see if you can actually have a character actor and a movie star's career combined.
I was hugely formed by stories I was told as a child whether that was in a book, the cinema, theatre or television and probably television more than any medium is what influenced me as a child and formed my response to literature, story-telling and, therefore, the world around me.
I spent a weekend in the White House with President Clinton, back in '99, I guess. We played golf and just hung out and talked on many subjects. I saw him several times subsequently in L.A. He's the smartest man I ever met, a great politician. Everybody was star struck around him.
A college football star, by his senior year, is used to running out there with 110,000 people going nuts. They feel comfortable in that environment. To me, a set feels like that. The one thing that I do know is that, as long as I'm prepared, I know this environment and this world.
My wife always says that I will be stuck with this forever: I am the difficult one. With Jack Nicholson they always said it was drugs. Warren Beatty is supposed to have screwed everything that jumped off the curve. I'll tell you, in reality a few of us had as many girls as Warren.
There were a few things that went into it. When you're doing something you're trying to be your audience at the same time, so if somebody tells me that this is a movie about retired opera singers, you think 'maybe I'll wait for it to come to DVD'. You're not rushing off to see it.
As an actor, you can really play the intensity and gravity and seriousness of the moment, and just rely on the circumstances being funny. The joke is kind of the situation you're in, or the way you're reacting to something, as opposed to the characters just saying something witty.
The things had been made a half a dozen times from silent pictures through the '30s and '40s. In fact, I think there's a version in the '50s. And then, of course, Spielberg eventually did a version of The Lost World, but this [filming] was '91, I think. And we shot it in Zimbabwe.
You know, you grow up with the image of John Travolta being super cool - 'Saturday Night Fever,' Brian De Palma, handsome young god... he, in reality, is a very silly man. And I mean that in a good way. He'll walk around the set talking in little weird voices, making people laugh.
When you do 'Before Sunset,' you know while it's a limited audience, there was a very small group of people that love 'Before Sunrise.' You feel a certain pressure to make sure that you uphold a level of quality that has been a bar. You set a bar and you have to at least match it.
We all have monsters inside of us, and we all have an inner child in us. You always think about your inner child as being the sweet and innocent part of yourself, but it's also the part that's all ego with the mentality of, "If the world isn't pleasing me, it isn't doing its job."
I love my bandmates, and they're my friends, and even though we had fun and got to tour and I got to play the drums a lot, which I'll always appreciate, we had a really rough time. We toured and tried to get people to come to our shows and put out records, and we really struggled.
My first manager, Suzanne DeWalt, saw a play I was in. She was invited by the director Joan Scheckel, who was my first real acting teacher. Joan was also good friends with my friend Susie Landau Finch, who had first encouraged me to consider acting, so that's how I began studying.
Sidney Poitier was directing a film called 'Hanky Panky.' And he said, 'Do you want to come with me to New York to see Gilda Radner in 'Lunch Hour' on Broadway? I said, 'I don't need to see her, I love her. I've wanted to write something for her for a long time. So it's OK by me.'
It was always a dream as I was growing up. I would watch movies, mostly American movies, and be so engrossed in those stories, all I wanted to do was be there. I wanted to be part of that romance or that fantasy or be that warrior or that struggling soul who finally makes it good.
The funny thing is, because I was doing a lot of theater when I was a kid, and a lot of that was musical theater, as I got older I became more interested in acting as a separate entity and music as a separate entity, like songwriting and production and recording and playing music.
People still assume the White House Correspondents' Association works for the White House, when in reality, it's a group of journalists who cover the White House. It's a branding thing, but because it has the 'White House' before it, people think they're just King Joffrey's goons.
It is at least worth arguing that there is a modicum of the creative novelist in all of us, and that this absorption with how men get out of difficulties, single-handedly and alone if possible, is the stuff of which we weave the warp and woof of our own better dramatic imaginings.
More than ever, it's very apparent that we are strapped for natural resources. We configure and reconfigure to try and find a way to maintain natural assets, when, ultimately, we are overlooking the most abundant, dynamic, and powerful resource we have available to us - our youth.
I've had so many hot, cheesy, corny loves of music in my life. I had a very intense Billy Joel period. So once you've really Joeled it up - there's some good periods of Joel; it's not all hot cheese. But I can't judge anyone else for their cheese. I've deep-sea dived in the Gouda.
Obviously, doing TV and doing theater are completely different because they're two totally different mediums. On stage, you worry about your voice and how you move physically. On TV, something like an eye twitch is what they could be looking for from you because it's so contained.