“I was never very happy with performing; it didn’t turn me on much.”

At this point in my career, I don’t have to deal with audition rejections. So I get my rejection from other things.

Great directors can understand the staging in such a way that can make a scene come alive. Others have a certain way of pacing the scene.

Vanity is my favourite sin.

I was playing a part of someone dealing dope on a street corner – and there was a guy actually dealing heroin right there. I looked at him, he looked at me, and I got real confused.

I’ve had very deep relationships that lasted for long periods of time with people.

My best advice to any young person is, if you want kids, be careful who you have them with. That’s my mantra.

I’ve always been in the theater. I’ve always gone to it. That’s been my way to cope.

The difference between the actor and the painter is that the actor would buy somebody a knish in order to have them watch him act.

On any given Sunday you’re gonna win or you’re gonna lose. The point is — can you win or lose like a man?

They say we die twice – once when the last breath leaves our body and once when the last person we know says our name.

I always had this thing, when I was younger especially, I didn’t want to do movies that much.

Anybody who cares about what he does takes risks.

I destroy it because it’s no longer coming from my unconscious.

The hardest thing about being famous is that people are always nice to you.

[Oscar Wilde’s Salome screenplay] is not autobiographical in a sense where you go to my house and see my kids and stuff like that, but that’s why I guess it’s semi-autobiographical.

You’re talking to him and all of a sudden, you say, “He’s puttin’ that in his cash register!”