I’ve always been in the theater. I’ve always gone to it. That’s been my way to cope. Early on in my career, I remember running - fleeing - to the theater as a way of coping with all the meshugaas that was going on for me.
Larry Grobel has the illness of all writers, he can't help himself. You're talking to him and all of a sudden, you say, "He's puttin' that in his cash register!"
My weaknesses... I wish I could come up with something. I'd probably have the same pause if you asked me what my strengths are. Maybe they're the same thing.
I' ve won awards. And they didn't make me feel bad winning them. They made me feel pretty good. But it also did not make me feel bad NOT winning the Academy Award.
I've had very deep relationships that lasted for long periods of time with people - you could almost call them marriages, even though I didn't marry. But it was costly.
Being the actors of the craft, the trade, one of the big things you do and you learn is about repeating. There is something to the repeats. I think that is part of what is healthy to young actors. Get out and learn something just through doing that, repeating.
Is it possible to do something that that makes an audience uncomfortable, challenges them, makes them see things they're not used to? Here in these films [Salome the play and Salomaybe], I have the opportunity to say something about how I feel about things.
There are people whose sense of reality is very strong, who have a sense of honesty. Lee Strasberg is like that, my grandfather was like that. These are the kinds of men I've had close relationships with.
The physical stamina [in Revolution]. I was just shocked by it. I didn't think I had it in me ever, and I wasn't terribly young when I did it. I was in my early forties. That was the first thing I was struck by, not by the acting, not by anything else, but by the physicality.