I think, like a lot of actors and people in the arts who are struggling to get where they want to be, you spend a lot of time sitting around grumbling about how you're not doing the kind of work you really want to do. But there's a lot of complacency...
I usually spend my free time worrying about when I'm going to work next.
I come to work on time. I focus on my job. I bust my scenes out and everything else kind of happens from there.
I went to work when I was a young fellow and I loved what I did. And I just kept working. And when I decided that maybe the time had come for me to quit, I got depressed. What could I do if I didn't work?
Every time you find something that doesn't work, you're a step closer to what does work.
When I was snowed under with the work of an idol, I didn't have time to think.
The one thing I regret was that my work required an enormous amount of my time, and a lot of travel.
My husband is that rare man who is blessed with the ability to see the big picture but will not ignore the smallest detail. He will work an 18-hour day and still find time to help the kids with their homework.
By the time the people asking the questions are ready for the answers, the people doing the work have lost track of the questions.
When you start a movie, it's not like other kinds of work that you have when you know your boss for years or colleagues for years. You're meeting everyone, mostly, for the first time. You have to get comfortable with those people so you can perform, ...
Every time I've flown an aircraft, or visited a steelworks, or watched a panel-beater at work, I've learned something new that can be applied to buildings.
In this work, you have to convince everyone all the time, at different levels, to support your dream. I learned you have to be confident in order to do that.
Of course I live in my time, and I'm really curious. But, at the same time, I don't think it has a direct impact on my work.
The Tonys are the once-a-year shot for all of these shows and artists who work so diligently every single performance but only for a thousand or so people at a time. This gives them the opportunity to perform to millions of people.
I try not to be too optimistic or pessimistic. If you're a pessimist then that's depressing all the time; if you're an optimist and things don't work out then that's depressing, too.
Generally I can sleep any time, anywhere, any place, unless I'm anxious about work. I can get performance anxiety, so when I'm on tour it can be hard to sleep.
When I'm working, I have a hard time switching off, and when I'm not working, I have a hard time thinking of ever wanting to work again.
I don't really like doing big stand-up. Whenever I do theaters, I don't like 'em. I don't think they're right for stand-up. I've seen people in theaters, and it just doesn't work, because you're talking to the guy next to you the whole time.
Tony Curtis was a joy to work with. He had a curious innocence that is very young and wise at the same time.
Every time I get in the studio, I feel like I wanna have some fun. My fun is not doing the easy work. My fun is doing what's me.
Over time, quality work will lead to an audience for your work.
