You can't play a guy who's just a snake, because what do you draw on?

Seriously, who doesn't want to slap a 27-year-old movie star?

If you are lucky enough to have a parent or two alive on this planet, call them. Don't text; don't e-mail. Call them on the phone.

There's a kind of numbness, a sameness, a lack of motivation in 'good job' culture.

I don't respond to authority figures who abuse their authority.

A lot of the stuff about white-supremacist groups was very family-friendly: 'We just love our people.' One the surface, you go, 'Gee, what's wrong with loving your people?' But when you love your people to the exclusion of everything else that's remotely different, that's when you get into trouble.

I read 'Whiplash,' and I wanted to do it.

My full name's Jonathan Kimble, but my parents didn't want to call me either. So for a while, I went by Kim, which is a name for a girl or a Korean person.

My understanding, from what I've learned so far about Commissioner Gordon, is that he's the older guy with the mustache who relates with our hero in a certain way.

I don't think I've ever watched a movie to prepare for a role.

My general philosophy of playing bad guys, which I've sort of done, you know, half the time is, you know, very few people who we view as bad guys get out of bed and think, 'What evil, terrible thing am I going to do today?' Most people see their motivations as justified - as, you know, justifying whatever they do.

I don't often do a lot of that kind of research, but when it's something specific like 'Oz' - which I fortunately did not have a lot of experience with - I will. I read 'The Hot House,' about being on the inside at Leavenworth prison.

Teaching is in my blood.

People evolve and it's important to not stop evolving just because you've reached 'adulthood.'

I started out as a singer and a musician, and I was taught that your job is just to get out of the way of Brahms or Arthur Miller or Shakespeare and convey the brilliance that they created.

I'm just glad to be able to work.

I wasn't a comic book aficionado at all when I was a kid, but my cousin Weed was. Every time we went to visit him on the farm, he had two really fun things: comedy albums and comic books.

When we were shooting 'Oz,' my wife was doing 'Beauty and the Beast' on Broadway, singing and dancing. It was an interesting dichotomy in our house.

I actually have a degree in music and was aware that music was a tool used in therapy. I didn't realize how far it had come since I was in college in the mid-seventies.

I would like to thank the 49 actors who appear on screen in 'Whiplash' for realizing Damien Chazelle's vision so beautifully.

Whether you need to like a character, I don't think that's necessary in order to portray him.

Fortunately, for the first 20 years in my career, I didn't have any other responsibilities outside of myself. I didn't have a wife and kids, so I could afford to sort of barely scrape by, to do theater.

Maybe when my kids are grown up, I can go back to Broadway. It would be great someday, I suppose.

I went from being a jock to a hippie. It was a very clear-cut decision. I had to be one or the other. I had to forsake that other aspect of myself. Or thought that I had to, which is regrettable. Quickly, I was back in the pine trees with the hippies, listening to my Jimi Hendrix and my Janis Joplin and turning on, tuning in, and dropping out.

My overall quest is always to do something that's somehow different from whatever it is that I just got done doing. If that can include occasionally playing an older guy who has a romantic side and a romantic relationship, than that's a real treat.

If the awards buzz is happening, and it's coming from critics and people in the business and all of that, that's only more good news.

I want to be like Bradley Cooper when I grow up.

If you're doing a prison show, HBO is the absolute best place in the world to be doing that because you're not going to have to do all that, you know, 'Prison Break' stuff where you can't really behave and speak like people do in a maximum-security prison.

I've been your yellow M&M for, oh, at least two decades or so, and I've done a lot of other animated stuff in between.

I've always believed, maybe naively, that 'The play's the thing.'

We're raising a generation of kids who are being overly praised for incredibly minor accomplishments. I think it's counter-productive.

By the time I started doing TV and film, I was in my forties, so I wasn't going to do the young up-and-comer.

On 'Oz' one day, I got a chunk of a camera embedded in my head, and I was passed out on the floor geysering blood while the set medic stood over me, freaking out. No help whatsoever. I ended up going to the ER and getting nine stitches in my head - real Frankenstein stitches.

There's another film - a little Greek movie - that hopefully is going to get some distribution here in the U.S., called 'Worlds Apart,' where I also play a 60-year-old guy who looks a lot like J.K. Simmons, who has a romantic relationship with an appropriate woman.

I read a very romantic book when I was young, when I was in college: Rilke's 'Letters to a Young Poet.' And I've always felt that if you are in any kind of an artistic, creative endeavor, and you feel there's something else you can do for a living and be happy, I think you should do something else.

Sometimes I read a really good script, and I just know that it's not a good fit.

For me, if the words are good on the page, the rest of it comes from spending some time with the script, and not like you're learning lines but absorbing what the script has to offer.

I read a lot of scripts, and there's a lot of good writing and a lot of OK writing and a lot of crappy writing. And even with the really good writing, it doesn't necessarily speak to me.

I play tons of authority figures, whether it's the dad or the cop or the boss. I think it's a combination of how I look, who I am.

I had many, many mentors that I worked with. Music teachers, choir directors, directors in summer stock or in regional theater. You know, people I was able to work with repeatedly and learn from who were really sort of appropriate people for me to work with at a given time in my development as an actor.

For me, the lean times were a wonderful, beautiful time of my life, struggling for many years in regional theater all over the country for not much money.

I never listened to the Grateful Dead as a teen; the only exposure I got was what came through the walls when my sister was listening to them.

I like to act. Every other aspect of show business I find uninteresting.

I'm not a fan of any genre but am a fan of movies that are intelligent and/or funny. That goes across all genres: a horror movie, a zombie movie, alien invaders, chick flick, or raunchy comedy. If it's well done, I'm a fan.

I was not a giant comic book fan as a kid, but to the extent that I did read comics, Spider-Man was always my favorite guy.

The best complement I ever got from the public or producers or directors is that I just totally blend in and become the character and they don't notice me and that the play happens or the movie happens or the TV show happens.

Most of my friends - when I was five, six, seven years old - their dads were working in an auto plant in Detroit until 5:30, and then they were sat in rush hour. They weren't around as much. My dad finished at three o'clock, so he was just around more.

I was in New York. I had been doing theater for many years, and then I got hired to a little part - they weren't calling it an extra, but I didn't have lines. It was a 'featured' part.

I was studying music in college. I was singing, I was doing operas and Gilbert and Sullivan operettas, and then I was offered a job as the music director of the Bigfork Summer Playhouse, in Bigfork, Montana.

When I got out of college, I moved to Seattle because it was the nearest big city and still didn't know if I wanted to be a composer, conductor, singer, actor. I just got day jobs and auditioned and took what came, and the theater doors were the ones opening the most.