Before the Berlin Wall came down, we played behind the Iron Curtain and sang, 'Born in the U.S.A.,' and I thought, 'We're all going to die. The man is going to get us all killed.' But then you saw all these kids with the American flag and German flags together and singing the song, and it was, wow, like 'We Shall Overcome.'
I don't come from an artistic family, so I didn't know what theater was. I was working on Wall Street in the '90s, and I went to see 'Appointment With a High-Wire Lady' at Ensemble Studio Theatre, and it affected me so deeply. It changed everything I thought about the arts. I quit banking and became an actor.
It's about people rising up in Ferguson and in Egypt and in Occupy Wall Street and in every place where a community has had enough and decides to make change happen. It's not about praising one charismatic leader but celebrating thousands of them... 'Black Messiah' is not one man. It's a feeling that, collectively, we are all that leader.
Art is what we call...the thing an artist does. It's not the medium or the oil or the price or whether it hangs on a wall or you eat it. What matters, what makes it art, is that the person who made it overcame the resistance, ignored the voice of doubt and made something worth making. Something risky. Something human. Art is not in the ...eye of the beholder. It's in the soul of the artist.
The barbed wire that encircled us like a wall did not fill us with real fear. In fact, we felt this was not a bad thing: we were entirely among ourselves. A small Jewish republic...
I've never been on Wall Street. And I care about Wall Street for one reason and one reason only because what happens on Wall Street matters to Main Street.
Against barbarity, poetry can resist only by confirming its attachment to human fragility like a blade of grass growing on a wall while armies march by.
To tell you the truth, I hadn't seen any Pixar until I went to see 'Wall-E,' and I watched it and I was shocked to see how adult it was, with the setting in our lives, both present and future, and how they dealt with it... And then quite relieved to find that the one I was working on, 'Up,' how adult it was.
Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here – is – away from the easel – into some sort, some kind of wall, wall painting...
I don't care if you are for having Mexico pay for the border wall, or you want to repeal and replace Obamacare, or if you want women to have complete access to reproductive rights - I don't care. The fact is, if you don't get the nuclear issue right, none of the other ones matter.
I traveled with then-Senator Obama to Israel in 2008. I will never forget our time in the holy city of Jerusalem and following behind him as he approached the Western Wall - and even in the dark hours of that very early morning, it was a place bustling with energy afforded by one's faith.
I will always try to share my faith with any person who is willing to listen. When I feel a wall go up, we can talk about something else... and I will pray for you.