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Unlike my grandfather or my brother, I've actually been able to make some money at a racetrack.
I love Chicago, but in a lot of ways it's a disappointment. You can work there for years and years, and because you're in Chicago, you don't get the recognition. It has some of the best theater in the country, but when they shoot a movie there, they bring in all their actors.
I'll never be the biggest kind of star; I'll be like Bob Duvall, respected as an actor but a lot of people can't identify the face. I don't have the personality of a big star, or the looks of a Mel Gibson or a Paul Newman, or the style of a George C. Scott.
Actors generally get to do things you probably shouldn't do in real life - well, at least as much as one might like to or be tempted to. Though I suppose a lot of actors just go ahead and do it, don't they?
Sigmund Freud said we act out our own dreams, but if you are only an actor you are not acting out your own dream. You are simply participating in someone else's dream.
Quite often - a lot of the work I had done had been extensively with women. Most especially in the theater, but also quite often in the movies. That has its own delights, and maybe pitfalls too.
The most evocative thing to me is probably when a writer and a group of performers can collectively put together something compelling that asks the really simple question: 'How do we live?'
Most filmmakers' entire body of knowledge is of other movies. When they describe things, they describe them in relation to other movies. That's why we have so many cyclical movies that look like other movies. But I'm not cynical. I even go to some of those movies.
'Secretariat' was such a magnificent animal, unbelievably beautiful and powerful. It's always nice to see something that close to perfection, a reason to celebrate.
I have at times spoken with my peers and the head of the actors' union about why we're not paid when we appear in, say, a 'TMZ' production, but there seems to be no real interest in combatting it.
I brought my first fall/winter line to New York, and it was confiscated by U.S. Customs. They asked, 'What is the value of this?' I said, 'I'm not so good with existential questions.'
I am inspired by the appearance of a bohemian of the new millennium. I thought it was necessary to update the figure of the bohemian, but not in the traditional way.
When you think of how history is revealed, we know certain things to be facts at certain periods of time, which turn out not to be so factual as time marches on.
I was a very good baseball and football player, but my father always told me I was much more interested in how I looked playing baseball or football than in actually playing. There's great truth in that.