Making movies is a very different experience in a lot of ways. It's difficult when you're used to owning the copyright and having a landlord's possessory rights - I rent my plays to the companies that do them and, if I'm upset, I can pull the play. But the only two directors I've worked with are pretty great.

Acting can be a narrow and isolated experience, because you only examine your particular part.

In my experience, there is only one motivation, and that is desire. No reasons or principle contain it or stand against it.

That's one of the benefits of working on big budget films. You work with people who have a lot of experience and you get to learn a lot.

I was an only child. I've known only children. From this experience, I do believe that the children should outnumber the parents.

Film is such a bizarre vehicle for acting. It's such a bizarre experience. I don't think you ever really get familiar with it. If you do get familiar with it, you're probably not that good anymore.

When a novel has 200,000 words, then it is possible for the reader to experience 200,000 delights, and to turn back to the first page of the book and experience them all over again, perhaps more intensely.

I definitely feel more complete than before. There's a void you have when you don't feel you've found the other part of who you are, so I'm in a different place now and that's nice to experience.

I think it's really, really important to mix it up as an actor, to try to get as much kind of varied experience as you can, not only for your own personal growth as an actor but for the audience to keep them guessing about what you're going to do.

I'm a method writer. In order to write about the emotion, I have to experience it. I get physically tired and exhausted, devoting hours and hours and hours to it.