All of my films have changed my life. I've met so many people and broadened my world view.

I try to construct some kind of backstory for my character so that I have an idea of the life of that character - not just from the moment when the scene starts, but from before.

If I had the science and math capabilities, I would have liked to be a vet, but I don't! I don't have those capabilities.

'Hester Street' was an incredible opportunity for me. That script was such an incredible script.

For me, the most important thing is the writing - and certainly the director. But if the writing isn't there, it doesn't matter who the director is!

I don't like somebody saying to me in their performance, 'Look at this. Isn't this funny?' I pray that I don't do that. I'm sure I fall off the horse every once in a while, but I try not to.

In my job, I worry a lot and try and stay calm and open. It sometimes works.

In high school, I did the 'The Tempest' at Lincoln Center for Joe Papp.

I am a very simple cook, I just do the minimum amount. I'm mostly a vegetarian, so I just steam a lot of vegetables.

When I had my dogs, I used to spend a lot of time in Central Park, which is a great place to be alone among a lot of people.

If I had not made strategic choices, I would have had far more access to dramatic roles. But the one thing I don't regret, even about bad choices, is that there's always something you can get out of it.

I don't regret what I've done but some of the things I didn't do.

In my experience, each project is what it is, and nothing is necessarily a turning point.

There's nothing obvious or predictable in acting. That's what it means to be in this profession.

New York, to me, even though I grew up here, there's something magical about it. I remember, every time I used to go to L.A. for work, when I'd come back and get off the plane and be driving towards the landscape of the city, I'd be beside myself with joy. It doesn't matter how many times!

I think therapy can be very revealing and useful for actors. You start to dig deep and understand certain mechanisms that you hadn't been aware of before and, you know, meanings behind things.

I just love the black and white movies.

You just can't make bad writing look good. But if you have good writing, you just say it, and it's almost done.

I didn't know I wanted to go into entertainment, but I knew I wanted to be on stage when I was about seven. I saw a play, like most kids do, at a children's theater in Cleveland, and I just saw them up there, and I thought, 'that's where I want to be.'

My preference is for really good writing, and I just really don't care where it is.

You can fake a lot of stuff, but you can't fake if the story isn't there and if the writing isn't good.

I guess I'm lucky in that I started working very young in all three of the mediums. I started in stage first, and then I moved into film, also very young, and when I did 'Taxi,' for instance, it was live in front of an audience but also filmed; that was a fun combination.

I don't like to objectify the people I play. I always try to go for the truth in any part.

I was taught by a lot of great comedy writers to go for the reality in a role, and the comedy will come through.

I think most actors are very impressionable, and that's part of what we do is soak up other's behavior.

Buses and subways are this remarkable social club. You talk to people you wouldn't normally talk to.