I do smaller films, I'm not getting big paydays. I feel like we're just kind of scraping together here.

I've seen a lot of the United States, having stayed in so many different cities and towns for work. It's such a strange and fascinating country, and instead of learning about it through a textbook, I would rather discover its history and traditions and institutions through fiction and nonfiction writers.

I have not spent years in therapy; I tried therapy in my mid-twenties, and it did not go very well. I just thought, 'This is so not for me. I would rather talk to one of my girlfriends.'

I’m not at a point in my life when I’m analyzing too much.

I’ve been lucky. I’ve made films that I really like. It’s been a combination of what comes to me and what I choose. I’ve gone after lots of things that I didn’t get, pet projects that everybody ends up chasing after. Really, you’re lucky if you get anything.

I would do ‘American Splendor’ and ‘About Schmidt’ again in a heartbeat.

The work evolves when you get another part, and then you’re getting called on to solve difficult characters, to inject a note of humanity into them. It’s more interesting for me to do that than to stand around and be sunny.

I’m a New Yorker, and I rarely get to work at home.

I’m way too disorganized.

The network shows tend to be run, in general, in my experience, by committee, and it’s hard for actors and writers to do their jobs.