The big studio era is from the coming of sound until 1950, until I came in... I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.
T.V. is the place to do the kind of films that were done in the 40s and 50s: the little guy against the system. There are so many opportunities in T.V. to do more character pieces. Everything is so hard-edged in features.
Films do seem prestigious and glamorous, but when you create something, you want people to see it. TV still reaches so many more people; it still really appeals to me.
I'm hoping that word-of-mouth on the film - people seeing it and liking it - that that will drive more people to the theaters, because I haven't seen the billboards or the posters or anything.
I have a Tony Award now. It hasn't changed too much in the theater world, but it gives me entree for film stuff and TV stuff, where people will see me more easily now because they know me.
I don't do facials or any of that stuff, but my workout regime does tend to depend on whether I have to take my top off in my next film because otherwise I know I'm too heavy.
I despise the phony, fancy-pants rhetoric of professors aping jargon-filled European locutions - which have blighted academic film criticism for over 30 years.
Some film actors want to sit back and look at every scene and all that crap. No, you're an actor - tell the story, and when it's told, there's another one to tell.
After I did Untamed Heart I wanted to do a film that was outrageous. I really wanted to do, you know, a performance. I don't want to allow my image to rule the choices that I make.
People gave us everything for free. We were allowed only so much film per picture, but there was no limit to the creativity. I like to say that they let us loose like wild dogs in the streets of Paris.
I don't know if you have ever seen the Woody Allen film 'Annie Hall,' but it is, in a way, to Los Angeles and 'Hollywood' what 'This Is Spinal Tap' is to many musicians.
The film industry has been extremely welcoming to me. It's an industry which is biased to what they think is talent. If they think you can bring value to cinema, they'll support you.
I just would like to be challenged. I want to push myself to the limit, and constantly challenge myself and grow as an artist. That's where I want to go. Explore different things, different characters, in film, and just everything!
I have never written a play, a story, a poem, or my one film - anything - unless something was troubling me enough, wrecking me, in fact, to drive me back into the absurdity of writing. I do not enjoy writing.
If you've been in a film that's seen by millions and millions and millions of people, you're more likely to be recognized for that than for your theater performances, which were seen by considerably less people. Why would I get upset by that?
If we just made one movie, 'The Hobbit,' the fact is that all the fans, the eight-, nine- and 10-year-old boys, they would watch it 1,000 times. Now, they've got three films they can watch 1,000 times.
Many people will say, well, clothes should be worn; but I think people can look at them in public, like seeing a film. I think museum exhibitions are very important.
I'm transitioning to television and film, but ultimately, I want to have a stronger presence on the web and be able to curate the content that I want to see. To bring attention to other filmmakers and writers.
I've always believed in populating my films with characters who we like, who we have some warmth for, who have warmth for each other, who we would like to hang out with, who we emulate in one way or another.
You prep, you prep, you prep. And on the day that you film, you let all of that go. I try to achieve emptiness as much as possible - the Zen thing - to let the deal come out of that nothing.
Making a film, it uses a certain... 'pretend-muscle,' I don't know what you want to call it. It exhausts something in me, I find. It has to be really something to get me interested.
