That which does not destroy you buys you another day to destroy others. By the way, remember last year when I was winning in Ohio or Indiana or Iowa, one of those, and I said I could shoot somebody in the middle of Fifth Avenue and I wouldn’t lose voters?

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I was never really in love with acting. I always love movies and going to the theater. But did I love being in this business? Not for five minutes. I did it because I needed a job. For the first year or two, it's like a poison that enters your body. It's like a virus, and your body has to release antidotes. But it would be very unfair to say that it's that way all the time. It's just like anything this overwhelming that you enter suddenly. It's like being a contact at West Point. You're thrown into an intense environment. From the word go, you realize it's sink or swim.

In the beginning, I had thought I might try acting for a while and see if it fit. As the work I was offered became more interesting it became my life. The challenge of doing it well at an ever-higher level appealed to me more than anything else.

On a movie set, the cry is 'Back to one!' to alert the cast and extras to reset to their original positions before the camera is rolled for the next take. Whenever I arrived at a place where the film business felt uncomfortable or downright unsafe for me, the place I often returned to was the theater. Onstage, we trust the material works, we assume all the actors are genuinely talented, and the work itself is the focus, unencumbered by the bullshit that often interferes with moviemaking. Back to one indeed.

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[Tennessee] William's writing has the effect that all great writing has on an actor. It steadies you. It emboldens you You ride an elevator to the top floor of a building, you jump off the penthouse balcony, and you fly. Just put one foot in front of the other, one line after the other, one moment after the other, and you are walking on air. It was the creative experience of a lifetime. (playing Stanley in Streetcar Named Desire)

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