Quotes of All Topics . Occasions . Authors
I love the rehearsal process in the theatre, and the visceral sense of contact and communication with a live audience.
Kim Coates is really funny. He's a blast. If you have to get beaten up and tortured, he's a good guy to get tortured by.
Almost anything makes me laugh, especially jokes at my own expense. And I will never, ever admit to being ticklish anywhere.
You have to kind of roll with the punches. That's why I think work begets work to a certain degree. I just try and keep busy.
While they would have provided financial support if I had needed it, the greatest support my parents gave was emotional, psychological.
You have to be so confident and so gifted to fill five minutes of nothing at the very beginning of a play before even a word is uttered.
Catcher in the Rye had a profound impact on me-the idea that we all have lots of dreams that are slowly being chipped away as we grow up.
My Brat Pack buddies and I didn't exactly handle celebrity very well. Success at an early age is far more difficult to handle than failure.
I just couldn't go back to Suddenly Susan after David Strickland's suicide. I didn't see how we could make the show light and funny any more.
Trace Adkins is such a great guy. Really is. And he's got that incredible voice - low, deep. He throws words around like "my dental coverage."
[John] Hughes is a great loss, I think. He was the first filmmaker that could look at someone who was young without seeing them as being less.
Phil Hicks was the guy that was in the ROTC, that was going to go into the Vietnam War and thought that was the responsibility of the citizen.
Paul Gleason played the teacher. I just tortured him as best I could. 'Cause he wasn't one of the kids, you know, so it was okay. He was great.
You can do crap work in a big movie, and it does good things. You can do great work in a movie no one sees, it does nothing. That's the way it goes.
It's very easy to confuse Sean Connery with James Bond. Sometimes in the entertainment industry, people believe the cake is more real than the baker.
I don't have any blindness when it comes to my money. As an actor, you can get distracted by your work. I do keep an eye on my nest egg, if you will.
[In The Dark Backward ] someone who has writer's block and kills people in A Cabin By The Lake. I guess he's a type of serial killer, but I don't know.
I don't know if it matters what country you're from, size of the city you're from, urban or rural, there are people that are hurting each other everywhere.
I got offered to do Ben 10. Sue Blu was the [voice] director of that, and I had worked with her - I think she was on Transformers as well. And she was so great.
The first animation thing I did was the first Transformers, the one that was animated many years ago. And I had heard that Orson Welles was doing a voice on it.
[John] Hughes really wanted it to sound authentic. He was a real collaborator. He encouraged us to bring to the material things we thought were maybe more truthful.
I'm involved with Recording Artists and Actors Against Drunk Driving. I'm also involved with most children's causes, because children can't help the environment they're in.
You just have to learn certain technical things, like where the camera is, not to block people's light in your own, to hit your marks, and that you do it kind of piecemeal.
I went and saw him [ John Hurt ] here in L.A.He did a one-man Beckett show of Krapp's Last Tape. I went back and saw him afterwards, and what an actor he is. He is so gifted.
The Dark Backward. Bill Paxton is in it with me. Wayne Newton. James Caan. Adam Rifkin wrote and directed it. It was made a number of years ago and very odd. Not for the squeamish.
It's still a bottom-line business. You can be out of control, and if they want you, they'll pick you. And you can be a mensch, and if you're not the product they want, you won't get it.
Santa Jr. I was a cop. Yes, I was officially Santa. But a younger Santa. He goes young, clean-shaven, to how we imagine Santa with all the white hair and beard and "Ho ho ho." Kind of funny.
If you read a script enough, especially a good script - I try to read it 40 to 50 times before you begin so you get a sense of the arc: what happens before, what happens after, what happens during.
I always thought that the badge a cop has was more like the shield that Captain America has. It's an obvious sign of good and something you'll protect other people with, but it will also protect you.
I like every single actor or actress in the world, because we never know what the conditions are like when they are working. I give everyone the benefit of the doubt and root for them like a psychotic sports fan
I like every single actor or actress in the world, because we never know what the conditions are like when they are working. I give everyone the benefit of the doubt and root for them like a psychotic sports fan.
I wanted to meet Orson Welles. So I was like, whatever, somehow get me in on this. I'm able to get cast in it, but Orson Welles worked alone. He worked before all of us worked. He didn't want to work with anyone else.
[John] Hughes was well aware that to ignore the seriousness of young people is to encourage things like Columbine, so you might want to listen. And we were all pretty serious, a little bit, in high school. Some a little more than others.
Fandango is not really a Western. It's really just set in Texas. It's a road picture. And then I did one that hasn't come out yet called Kreep, which is set in Texas, but it's not really a Western. But it has a more rural-Texas feel to it.
I still think Brooke Shields is aces. She's really smart, interesting, doesn't feel that her time is more valuable than anyone else's. Really hardworking. And I knew that if she was the star of the show, it's going to be a good experience. And it was.
Stagecoach is really my first Western-Western, the whole horses and gunplay. It was really fun. We shot it fast, too. We got lucky with the weather. If it rained, I don't know if we would have been able to finish it. We had like 12 shooting days for the whole thing.
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.
You get the sense that [John] Hughes is so right about the way groups divide and then divide again and then sometimes align and then sometimes break apart. And this idea that Michael Hall's character says, "On Monday, are we going to be friends?" you know, based on this.
It's strange, 'cause a play, you start at the beginning and you go all the way through to the end. So it's naturally very well rehearsed and you get a rhythm and a flow. In film, you can shoot the ending before the beginning. It's very odd. And it's like a craft you have to learn.
As they were building that library in that school's gym [in the Breakfast Club], they built a rehearsal space for us. It was really an empty room taped out with the same dimensions of the library. And they had the tables all there. And he had us sitting at the same table. All of us.
I did a Moonlighting episode because I was friends with Whoopi [Goldberg, who guest-starred in the same episode], and she asked me to do it and I did it. But yeah, that was my first regular on a series, and it's because I'd met Brooke Shields a number of years earlier at a charity event.
Voice-over stuff is so much fun because you don't have hair and makeup and wardrobe. You get to show up. And there were some talented people, and we don't even know them. And they're so gifted. They can do all these accents and voices. It's really fun to do that stuff. It's really like actor camp.
I think that there's room for everyone. I don't think that if one person succeeds then another must fail. That's lunacy. I'm not sure what the reasons are for my philosophy, maybe it's the fact that if there are ten people doing the same job, we all know how we feel and what our high points and low points are.
We tried the first evening to go down Division Street and Rush Street, but we couldn't get in anywhere because they didn't like [ Emilio Estevez] sneakers and they didn't like my boots. This was 1983 or '84, so it was ridiculous. We ended up at a jazz club, where you go downstairs and there's a very cool place.
I went to acting school with Mario Van Peebles. For a little while, he was at the same school. So he asked me if I wanted to do [ New Jack City]. He said, "There's not really a role. We'll figure something out. But would you like to?" And I was like, "Sure." 'Cause he said it was Chris Rock and Ice T's first movie.
I think that sometimes you don't have the opportunities for some of the most A-list-type movies, big-budget movies. But I think it's important to keep working and make the best of what's available. Because otherwise, what? Are you just going to get bitter and moan? What does my mom always say? "If you can't stand the heat, get out of the kitchen."
There were a few things that, in rehearsal, any one of us might try. [John] Hughes would go, "I like that," to me spitting up in the air and catching it in my mouth. It was just something I did in a rehearsal and Molly [ Ringwald] went, "Ewww." And John went, "Can you do that again?" And I went all day long, and he was like, "Okay, let's do that."
I was just in a few episodes the first season [ of Empire]. They didn't kill me, but I haven't been back in season two or three. I don't know if they have plans for me or not. But I enjoyed working on it. And I think it's a really talented group of actors and, boy, very enterprising to try and shoot those every week, you know, with musical numbers and all that stuff.
I think I was, like, 23 or something [on The Breakfast Club]. I was the oldest of the five. Emilio [Estevez] and Ally [Sheedy] were a year younger. The only real difference was that Molly [ Ringwald] and Michael [Hall] still had to go to school. They could shoot, like, a half day. So a lot of my close coverage was done with Molly's stand-in, so Molly could do her schoolwork.
Part of the reason I thought that I might do a series is, my dad has pretty much been on the same road to work for years and years. And it's like, "Could I do something like that? Am I so independent that I can't punch the clock at the same place?" So part of it was a kind of exercise. "Can I be responsible in this way?" And lo and behold, I could. Luckily. It'd be bad if I couldn't.