I don't want to leave New York and leave my family. I don't like the distance. I just did a movie in California and it's kind of excruciating to be away from them so I think there is that sense.
I never felt comfortable in real life very well. It's always been an awkward kind of thing for me and so when I hit the stage I just sensed freedom. I sensed here's a place that I can have all the experiences of life and not feel uncomfortable about it.
Some people feel that what we're doing makes no sense, that it's just a waste of money. But it's working.
When you work with chains or any kind of weapons, or just when you're using hand-to-hand combat, you are going to get hurt.
My real hair color is kind of a dark blonde. Now I just have mood hair.
Frank Capra was a prop man, I think. John Ford was a prop man. It was a little bit of a father and son thing, and you kind of worked your way up.
I just think they're really insecure about themselves sometimes. I know all the girls, but we all work a lot and don't have time to hang out together. They're all really nice; I've never had a problem with any model.
Eight shows a week is daunting, and it can be terrifying. But it just instills such a sense of confidence and growth.
If I get a script that's set in the jungle it goes to the bottom of the pile because I don't think the playgrounds are going to be very good there! I'm really aware of how lucky I am but I have the kind of job where I can bring my child to work.
My mother opened a bank account for me when I made $60 on my first day of work as an extra. She's that kind of mother.
You cannot be happy with your family while being personally unhappy with your work. It's a Catch-22 kind of thing.
It's not as though I'm working in some sort of vacuum, I do know exactly what my options are and it is a creative choice to go one way or the other.
You get used to working with one choreographer. You kind of get stuck in that vein and you work your way out of it, picking up someone else's style, their flavor. It takes a bit of time.
You cannot teach creativity - how to become a good writer. But you can help a young writer discover within himself what kind of writer he would like to be.
Now, I'm simply working with people I want to work with. I just want to have good working experiences and let the dice fall where they may.
It hinders the creative work of the mind if the intellect examines too closely the ideas as they pour in.
To say that a work of art is good, but incomprehensible to the majority of men, is the same as saying of some kind of food that it is very good but that most people can't eat it.
What can you do if a part of it is uphill? You can't work out another route. You've just got to run the one they give you. But they tell me London is a nice course. Even the cobbles, I hope, are not very much of a problem for me.
A lot of the films I've made probably could have worked just as well 50 years ago, and that's just because I have a lot of old-fashion values.
I'm not in the loop; I don't know any actors, really, just the ones I work with.
I'm just starting to realize the type of work that I want to do. Not everyone can fit into the sitcom world because it's so fast-paced, but it feels comfortable to me.
I love oldies just kind of sweet, slinky, Fifties music. The slow stuff. And Billie Holiday.
Many people worry so much about managing their careers, but rarely spend half that much energy managing their LIVES. I want to make my life, not just my job, the best it can be. The rest will work itself out.
I never wanted to do the same kind of movies over and over anyway, so my theory on it all is I'm just gonna try and dodge the label and keep doing what I am doing.
I think that anything that you do, any accomplishment that you make, you have to work for. And I've worked very hard in the last ten years of my life, definitely, and I can tell you that hard work pays off. It's not just a cliche.