I remember a conversation with my parents about who the people on the TV were, and learning they were actors and they acted out this story and just thinking that was the most fantastic notion, and that's what I want to do. And I remember understanding very clearly the difference between the fantasy and reality of that, and that making it even more exciting.
You make your own path as an actor. Nobody does it for you, so you have to invent yourself.
As far as being an actor is concerned, you have to have passion. If you're not bringing the passion of the character into the room with you, you might as well not come into the room at all.
God, I hate interviews with actors pouncing on. Who wants to know about their lives? I don't want to know about Al Pacino's life.
I think audiences, producers and directors included, develop crushes on actors (actresses in particular) and then lose interest and move on to the next one.
Sometimes when an actor says something almost perfect, but you know you have to edit it, if you tell them to change something immediately, it will come out great
Business is very personal. For me, everything is extremely personal. With actors, the fact that I write helps, because when you say to an actor "Oh I want you to do it a little bit more. . . ," without saying what you want more of, then the actor doesn't know what to do. But if you can put into words exactly what you want, then the experience of writing is helpful with that.
What is a movie star? A movie star is many things. They can be tall, short, thin, or skinny. They can be Democrats. . . or skinny.
Everyone fails. Everyone is constantly failing. It is all part of life, and especially this job of being an actor.
This is not the 19th century, where actors are expected to play completely opposite roles. We're not typecast, but we're brought in because somebody thinks that it's a good fit, so you make it a better fit.
The world seems concerned with Pakistan primarily as an actor in global attempts to combat terrorism.
I want to direct and work with the youngins and the fabulous actors of today.
Most filmmaking is about shaking hands and just starting
I think when you work on a Woody Allen film the actors become a real company, probably more than on any other film.
As a director you already have a script, you have actors. . . you have collaborators when you're a director. When you're writing there's no one to collaborate with, there's no material to look at. I haven't adapted something yet, so, I'm sure that would be helpful. When you're writing an original piece you have nothing.
When you feel good about the work you're doing, that's what's important, not the budget or anything like that. If you're happy about the actors you're working with, that's what's important.
This whole celebrity racket, it's not really my bag. I don't really do that stuff, and I am not looking to get famous myself. I would love it if my characters get famous, my work was well known and appreciated. But I'm an actor, not a spokes model or a celebrity or whatever that is. I don't know how to be that.
Unless it's a specific accent, or something about physicality you have to change, I am generally not such a conscious actor.
As an actor, you want to push yourself.
[The Man] was a case where it was a funny role teamed up with another actor. It's a great teaming. And the role was a bigger role. It wasn't so much that it was a co-starring role. This is not a new direction. I'm not saying, 'No. I'm only now co-starring. ' It just happens it's a co-starring role.