You draw on whatever's relevant to the part you're playing; it makes it more personal.

As an actor who’s starting out, you can’t say, “Hey, I’m too good for this.” You gotta do it, because people see you, your name gets around, and it has a cumulative effect.

One regret I have: I didn’t get as much of the family history as I could have for the kids.

I always tell actors when they go in for an audition: Don’t be afraid to do what your instincts tell you. You may not get the part, but people will take notice.

New York is more exciting, I guess, than even Paris or London. New York’s the center of something; I don’t know what, really – the center of a lot of things. With all its problems and chaos and craziness, it’s still a great place to live. I can’t see myself living anywhere else.

It’s important not to indicate. People don’t try to show their feelings, they try to hide them.

I didn’t have a problem with rejection, because when you go into an audition, you’re rejected already. There are hundreds of other actors. You’re behind the eight ball when you go in there.

If De Niro wants to spend the twilight of his career as the McDonald’s of master thespians, we can’t stop him.

When you make a drama, you spend all day beating a guy to death with a hammer, or what have you. Or, you have to take a bite out of somebody’s face. On the other hand, with a comedy, you yell at Billy Crystal for an hour, and you go home.

If you don’t co-operate you’re gonna suffer from fistophobia.