The whole time I've been an actor, from early in Houston, my goal has been to work - to keep doing it. I feel at my most satisfied as a human being when I'm working on a role.
Actors and writers need to come back to the theater because it's a place where you can learn. You have to pay your dues, and people who haven't paid their dues in the theater, I think, have a hard time creating a whole career.
The show was number one in the ratings, Gordon Russell was our head writer, the story lines were magnificent and the acting most exciting. I loved working with Judith Light and all the other actors on the show at that time.
By the time I was 14, I was about six foot. I remember going into auditions, and they'd look at how tall I was and say, 'Well, you're taller than the lead actor, so there's no way we can cast you.'
Anytime I met an actor, I just attacked them and said, 'How did you do this?' Eventually, I began to realize that you went to school for it. I wasn't a bright kid, so it took me a long time to figure that out.
It's such a stressful environment, I find, being an actor, being put in the chair and 'Touch this, that, and the other,' it's too much for me. I find it hard to tolerate that sort of stuff. If you're not enjoying it, don't do it. You're wasting every...
With more time I like to see the actors find something of their own places, so I can get their own ideas before I put mine in. Given they have a better idea more often enough.
I've been very lucky as an actor. I have worked all the time. Some shows I do, they get cancelled. Some, they're critically acclaimed, and then they get cancelled. And some, I'm in the last season of this or that. But I can't complain about my career...
I believe that we are still hovering around the realm of Asians playing all types of Asians. I do not see that changing any time soon just because there is a limited pool of Asian actors.
I've had wonderful collaborators. They're very different, just as actors are. Working on a show with Nathan Lane is different from working on a show with Chita Rivera. It keeps you on your toes because it's different every time.
For me, a play is a form of writing which isn't complete until it is interpreted by actors. But it's still a form of writing. And so most of my time is spent thinking about how to write a sentence.
People in the CIA, they marry each other. They're like actors! We have to travel without much warning to far-flung places, and it's very hard to communicate what our experiences are like to those in the outside world.
Rog: Who the hell's Rock Hudson? Clint: He's an actor, dumbass. Haven't you seen North By Northwest?
Lt. Aldo Raine: [trying to speaking Italian in an attempt to fool Landa to keep up his cover as an Italian actor] Gwatzeeeeee. Gwatzeeee. Gwatzeeee.
Ray Pinker: Stomach of the week. Unemployed actor had frankfurter, french fries, alcohol, and sperm. Hell of a last supper, don't you think?
Phillip Vandamm: Seems to me you fellows could stand a little less training from the F.B.I. and a little more from the Actor's Studio.
Joe Gillis: Audiences don't know somebody sits down and writes a picture; they think the actors make it up as they go along.
As an actor, we're unemployed a lot, so I'm familiar with the stress of trying to get a gig, and sometimes you take shows that you don't really want to do to keep the money coming in.
My father was a waiter basically, and when I got my first professional job as an actor, I left a job that he found me for half the amount of money. So anyone would think that they're stupid, that that would be a stupid move.
If you look at the paths of other actors, most people have a curve where you hit it and there's a time where you make a lot of money and they let you make your movies, and then they take it away and it's gone.
What counts in Hollywood is box office. It doesn't really matter what people think of you as an actor because, as long as you have been in a movie that has made money, you will always get another job.
