One of the reasons I've hesitated to be an actor is you have to do talk shows and interviews. I'm really a private person and not into telling everything about me. Michelle [Pfeiffer] told me to think of doing publicity as the work and acting as the fun part.

The majority of my buddies are not in the business. I also love not working. And I think for me a lot of research as an actor is just fucking living, and, you know, having a normal life doing regular things and just being able to observe, and be, in that sort of lovely flow of humanity. If you can’t do that because you’re going from film festival to movie set to promotions…I mean that’s The Bubble. I’m not saying that makes you any better or less as an actor, but it’s just a world that I couldn’t exist in. I find it would be very limiting on what you can experience as a human being, you know?

I think it's possible to be too quick-witted, too smart to be an actor. You have to turn off a lot of your brain, in a way. When you see a fellow actor just missing it, it's hard to keep your mouth shut, but you have to. Or see a director so stupid he couldn't direct vomit into a paper bag. And he's in charge, and it's really hard to keep your mouth shut.

Most people want to be actors because they want unconditional love and power and money and to be able to act out a character fantasy that involves themselves. So if one is truly honest about themselves in that way, then you're on the right path. If not, the process becomes convoluted. You have to go out grab it, and demand it.

It doesn't matter who you are as an actor; that's really always in the script. It wouldn't make sense a lot of times to drastically change things. It would threaten to change the story arc and all that kind of stuff. I think really what an actor does is an instrument, not a player.

As an actor, if you’re lucky enough to get any roles then that’s a good thing. If you can choose a little bit, then even better. I try and read things that are coming up and see what looks interesting. Things morph over the years as you get more and more interested in different things.

One of the most difficult aspects of being an actor is trying to find the right work. Work that speaks to an audience, that you enjoy doing and that is reflective of your artistic sensibility. To be a contemporary movie actor, you have to kill people - that's basically it. If you don't cock'n'load'n'fire a Smith&Wesson at some point in your film career, you're not going to have a film career. There just aren't enough movies that I like to keep me working in movies all the time. Well, let me rephrase that: there aren't enough available parts.

The funny thing about being an actor is, at least from my point of view, you don’t spend a lot of time reflecting. You’re just on to the next thing. The work is so tricky to get sometimes. I’ve spent so much time just looking forward and trying to work on what I’m working on at the time that I don’t really think of myself as having done that much. Looking back on the resume it’s like, oh, yeah. An actor has a couple of lifetimes, I guess. I’ve been very fortunate. When you’re first starting out, for me anyway, I was a little shy telling people I was an actor. I didn’t have a lot of stuff on my resume. When you have one scene as a background guy in a television movie and call yourself an actor, that’s a little odd at first. Now I’m more comfortable with it. I’m really not aware of it until people bring it up. People that I meet in the professional world say, man you’ve been around forever. Really? I guess so. It’s great. I’ve been fortunate to work in all the venues: theater, and movies and TV and the subgenres of comedy and drama. I guess I am very, very fortunate.

The sun beats down and you pace, you pace and you pace. Your mind flies free and you see yourself as an actor, condemned to a treadmill wherein men and women conspire to breathe life into a screenplay that allegedly depicts life as it was in the old wild West. You see yourself coming awake any one of a thousand mornings between the spring of 1954, and that of 1958—alone in a double bed in a big white house deep in suburban Sherman Oaks, not far from Hollywood. The windows are open wide, and beyond these is the backyard swimming pool inert and green, within a picket fence. You turn and gaze at a pair of desks not far from the double bed. This is your private office, the place that shelters your fondest hopes: these desks so neat, patiently waiting for the day that never comes, the day you'll sit down at last and begin to write. Why did you never write? Why, instead, did you grovel along, through the endless months and years, as a motion‑picture actor? What held you to it, to something you so vehemently professed to despise? Could it be that you secretly liked it — that the big dough and the big house and the high life meant more than the aura you spun for those around you to see? Hayden's wild," they said. "He's kind of nuts — but you've got to hand it to him. He doesn't give a damn about the loot or the stardom or things like that — something to do with his seafaring, or maybe what he went through in the war . . ." Sure you liked it, part of it at least. The latitude this life gave you, the opportunity to pose perhaps; the chance to indulge in talk about “convictions — values — basic principles.” Maybe what kept you from writing was the fact that you knew it was tough. Maybe what held you to to acting was the fact that you couldn't lose — not really lose, because you could not be considered a failure if you had not set out to succeed... and you made it quite plain that you didn't give a damn. And yet, you did hate it. Perhaps you were weak, that's all. You hated it because you knew you were capable of far more. You hated the role of an actor because, in the final analysis. an actor is only a pawn — brilliant sometimes, rare and talented, capable of bringing pleasure and even inspiration to others, but no less a pawn for that: a man who at best expresses the yearnings and actions of others. Could it be that you thought too much of yourself — that you could not accept sublimating yourself to a mold conceived by others, anyone else on earth?

I would really like to do more dramatic work on the stage. It's difficult as a character actress because they casting directors and producers don't think of you as an actress, they think of you as a comedian.

I think it’s a real danger, as an actor, when you try to make some statement through your career about what the business should be doing or ultimately what your image should be or how you want to be perceived. I look at every project that comes along and say, “Is this something I can sink my teeth into and can do a good job on?” That’s really how I choose roles.

Don't let your flaws define you. Become who you are. Be the best version of yourself. If you're a nice person, just be nice. If you make art to please people or to make people like you—well, it's never going to happen. Before I was an actor, I was a human and a citizen. As an actor, your job is to inhabit different people's lives and honor their feelings and be empathetic to other people's struggles. Just because you are an actor, you are not immediately an activist. But if you do have the platform and the opportunity to speak out, then I think it is your civic duty—especially right now—to be on the right side of history. We only have so long on this planet.

One of the things that bothered me about acting is that a lot of people just say they can do it and-- and can't! There's nobody in this world [of comedy] that says they can do it and can't do it.

Every time I perform, I work really hard to give part of myself to the audience. Then I do an interview and I read some story that just isn't true, or someone draws a crazy conclusion about my life, and it's such a betrayal. It hasn't happened here, but in Croatia, I've had to stop reading about myself. I don't think actors mean to be secretive - they just don't want strangers looking through their kitchen window.