Quotes of All Topics . Occasions . Authors
When I had my dogs, I used to spend a lot of time in Central Park, which is a great place to be alone among a lot of people.
There are directors who don't cast you for the way you act but for the way you are, the way you behave around the dinner table.
I'm one of those people that if I go to a party, I can't remember my mother's name because I'm so nervous in a social situation.
An actor really suffers when the director isn't prepared because you start running out of time for the shoot and then have to do it fast.
Life is very cyclical. And my career has been very-high-very-low, very-high-very-low, and I think it'll probably keep on rolling that way.
That's when the great stuff happens, when you're not checking yourself all the time, being critical of yourself and what other people are doing.
For me, the most important thing is the writing - and certainly the director. But if the writing isn't there, it doesn't matter who the director is!
I try to construct some kind of backstory for my character so that I have an idea of the life of that character - not just from the moment when the scene starts, but from before.
And my first film was Carnal Knowledge, another amazing experience, largely because of Mike Nichols, who would tell me you can't do anything wrong because you're doing everything right.
The thing about the four-camera shows is that it's kind of a great combo of theater and film. You have an audience, but you have a camera to capture things, so that's a great thing, too.
I don't like somebody saying to me in their performance, 'Look at this. Isn't this funny?' I pray that I don't do that. I'm sure I fall off the horse every once in a while, but I try not to.
I think therapy can be very revealing and useful for actors. You start to dig deep and understand certain mechanisms that you hadn't been aware of before and, you know, meanings behind things.
If I had not made strategic choices, I would have had far more access to dramatic roles. But the one thing I don't regret, even about bad choices, is that there's always something you can get out of it.
This is a grueling profession. Either you can't get work, or you can't get certain kinds of parts, or you get a part, and it kills you because it's not good enough, or you get successful and feel guilty about it.
I didn't know I wanted to go into entertainment, but I knew I wanted to be on stage when I was about seven. I saw a play, like most kids do, at a children's theater in Cleveland, and I just saw them up there, and I thought, 'that's where I want to be.'
I guess I'm lucky in that I started working very young in all three of the mediums. I started in stage first, and then I moved into film, also very young, and when I did 'Taxi,' for instance, it was live in front of an audience but also filmed; that was a fun combination.
New York, to me, even though I grew up here, there's something magical about it. I remember, every time I used to go to L.A. for work, when I'd come back and get off the plane and be driving towards the landscape of the city, I'd be beside myself with joy. It doesn't matter how many times!