If I got something to say or do to a man, I'm going to look that man in the eye and tell him what is going to happen. That's just me now.

I can play a man who's despicable. But I'll still look inside him to find a point of connection. If I can find that kernel, audiences will relate to me.

We ought to look at Social Security. We ought to ask ourselves the question, is there inherently something wrong with Social Security that a man like me is eligible for Social Security? There's something wrong with the system.

I mean, there was a portion, of course, that I think, when I look back now, that there was a portion of what attracted me must have been the awe of him being a powerful man in this environment, not to take away from who he is as a real person.

I have played characters where I haven't been absorbed - you know, what I call a typical film leading man role where you just have to look gorgeous and be attractive and charming. It bores me. I like a bit of dirt, a bit of sand in the oyster.

A lot of the albums that I've been really into are like, 'Oh man. That doesn't make him look like a perfect human. That actually shows his warts and his scars, and for some reason, I'm super drawn to him now because he shared that or she shared that with me.'

Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.

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