It's definitely more fun playing a bad guy. It feels a lot better than playing one of the good guys.
There are things that you can do today that, years ago, there was nothing. The community today needs to know that with MRI and the current medications the view is good.
Until I got married, when I used to go out, my mother said good bye to me as though I was emigrating.
If I start thinking, 'Is this movie going to open? Is this movie going to do well?' I'm not focusing on the job. The job is to make a good movie.
Whenever something good comes up that sounds like I could be part of the project, my manager and my agents send me in on it.
I think it's always a good idea to dress as someone you like, as long as it's done in good taste. That's the key.
I think that it helps that I have acted. That said, it doesn't mean you're going to be a good director.
I'm not a coffee drinker, so my drink is kind of like a girlie skim chai latte. I'm not proud of it, but it's really good.
There is a little bit of me in every part I do... I'm not really good enough to completely construct an all-new character.
Just growing up in Pittsburgh and knowing different neighborhoods, having family there and just loving it, it's like no other place.
My mother's side of the family was in the production side of theatre. My grandfather, Jose Vega, was a general manager for Neil Simon shows on Broadway.
I'm hanging out with my New York friends, my Jersey boys, my family and loving every single second of it.
A big part of financial freedom is having your heart and mind free from worry about the what-ifs of life.
I think fear is unavoidable and that, when recognized and embraced, it's something that can work for you - especially in the audition room.
My goal was just to work regularly. I didn't ever expect to be rich or famous. I wanted to be a working character actor.
You might get one job for having a famous parent, but you won't get your second unless you're good.
My goal was not to be famous or rich but to be good at what I did. And that required going to New York and studying and working in the theater.
People's - most people's job is talking about the future or like money not even in the present tense. It's not even paper.
I don't see the future as bright, language-wise. I see it as a glass half empty - and evaporating quickly.
The educator must above all understand how to wait; to reckon all effects in the light of the future, not of the present.
My work is as an ethnographic rescuer: a conduit between past and future generations. The urgency of this effort cannot be overstated.
