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I've always been drawn to the best writing that I can find. I don't care if it's in movies or theater or whatever - if you want to be in front of an audience, you have to do writing you believe in.
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I'd really rather that nobody had a gun, and then nobody would have to worry about it. That would be more my theory. In America, there's this knee-jerk response that more walls and more guns make people safer, and I'm entirely suspect of that way of thinking.
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The older I get, the more I realize how rare it is to meet a kindred spirit.
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The constant buzz and pressure and noise and static of the Internet, and the way it makes young people feel makes it difficult to grow up and develop the way one might want to.
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I like that there's a certain inherent drama to those jobs that is exciting to tell stories about and it's still real life. I'm a little less interested in the current fad of being obsessed with superheroes and things that are so out of the box.
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The thing that makes a great genre movie is one that's not just entertainment, not just horror or sci-fi or whatever. The ones I love are the genre pictures with some subversive message underlying it all.
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I think it's my job to risk looking foolish. One of the things I've learned from the actors I've worked with is you don't get something for nothing. If you don't risk looking foolish, you'll never do anything special.
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There's only so often you're going to have an opportunity to contribute at a high level and that you should be grateful whenever one presents itself and not take it lightly.
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The older I get, the more obvious it is that you're not really in control of your life, you're a part of a larger wave, no matter who you are.
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Time is so much a part of what makes you close to people.
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The only thing I can point to of why I survived is I have a family that loves me and never wanted any money from me.
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Right now the only people I can really fall in love with are people who don't really, truly want me around. Now why do I do that?
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You need to be a good screen partner. It's very meaningful to me to be a part of great acting performances.
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The truth is that the more you get paid, the less freedom you have. They never pay you for nothing.
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Years ago I was going to play Chet Baker in another movie and I really felt drawn to that character and the script is good and I met with Robert and we seemed simpatico and we developed. But I had a real passion for that role and that brought me deep into that film 'cause I got the sense that Robert Budreau was going to really let me be creative inside this part.
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At every turn, when humanity is asked the question, 'Do you want temporary economic gain or long-term environmental loss, which one do you prefer,' we invariably choose the money.
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I've had several moments in my career where it seemed like I might not age out of the bracket the world wants to put you in. It's hard to keep growing up inside the performing arts. It's very difficult, and presents a lot of unique challenges.
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One of the things I can do is to try to put myself in different kinds of movies and that kind of subtly changes my work. By the time my obituary is written, I want there to be a great western and a great comedy.
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My first car was kind of sad. My first car was when my parents had completely worn out their Toyota Corolla that they had for 16 years or something. They gave me, for my 19th birthday, this really ancient Toyota. So that was my first car. And I loved it. I thought it was amazing, and I drove it cross-country. It was not aesthetically appealing in any way. It was it fast. It did not handle well, but it lasted forever. I drove cross-country and back, and then I gave it to my sister, and she drove it for another 10 years.
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I auditioned for Robert Redford once and I was so starstruck I couldn't even speak. I had a mic wire at a screen test clipped to me and then I got kind of nervous and I paced in a circle and then took a step and tripped and fell on my face. You just have to forgive yourself and keep going on.
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Nothing teaches you like getting leveled. And I got leveled in my early 30s. Nothing went exactly the way I thought it would.
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'Brooklyn's Finest,' this is the kind of movie that's why I want to be an actor, to tell real-life stories. This is where I feel my job is, to interpret life.
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If I do three movies in a year, I don't feel like acting ever again.
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And the joy of my job - and it's really true - is that it's constantly evolving and changing.