Everyone assumes that novelists are smarter and more interesting. They're generally smarter and more interesting, but they're often very short. So it kind of cancels all the smart and interesting stuff out.

I think, the first time I played Iago at the Public Theater, I realized I had a - much to my chagrin - I realized I had an instinct for these conflicted characters, for these torn characters, for these characters who could be described as evil. I wouldn't describe them that way.

I really don't think there is anybody in the business with better eyes than Elijah Wood.

You can think about your career or you can think about your job. I like to think about my job.

As soon as you know what you're doing, you're doing it wrong.

Hamlet is a remarkably easy role. Physically it's hard because it tends to be about three hours long and you're talking the whole time. But it's a simple role and it adapts itself very well, because the thing about Hamlet is, we all are Hamlet.

I'm not that interested in working with impervious people.

And you know, I hate to admit this, but I don't always think in terms of Shakespeare. When I eat, I do. When I'm at a restaurant, I'll think, 'Hmm, what would Macbeth have ordered?'

My style was always intuitive. I never used to believe in working on your body. Anything that smacked of vanity to me was bad for your acting, but I learned that wasn't true.

Home is New York.

I was always curious about motivation and intention, and really, that's a lot of what acting is.

You should never ask actors about politics.

I get very nervous around famous people and I get nervous around beautiful women.

I struggle with the idea of comparing people's work and art. The notion of giving awards or putting a competitive spin on something that is a relative art form is sort of odd to me.

I find that the most interestingly written parts happen to be the bad guys.

I love having that creative discussion where, at the end of the day, you both feel better for having done it. Maybe it's a typically Jewish thing, where you sort of go at each other.

I've never been a heavy practitioner of the method or, at least, with any specific intent; I'm kind of an impulse-based person. Like, I'm sort of waiting for something to happen that I'm not expecting, and I kind of want to jump on that train of emotion, whatever it is, both from myself or from the other actor.

The premise for me has always been that it's vulnerable people who do violent things. And the more vulnerable they feel, often, the more violent they are. But I think, you know, that's an idea that comes from history, from classical theater, for me.

There's nothing more exciting than that conversation you have with a live audience. It's the best feeling in the world.

It's good to overexpose yourself with work. But don't expose yourself too much with the press.

That's really how I got started was doing Shakespeare. When I got out of school, I was lucky enough to meet George Wolfe, who ran The Public Theater.

I did some research into what was going on in terms of the sexual revolution that was happening in the '60s in the gay community and particularly in the drag world. Before the '60s, guys doing drag would dress like their mothers or iconic Hollywood actresses.

I find old women at weddings and funerals attractive; I have this weird mortality thing.

You'd think true masculinity was just calm and collected happiness. So alpha male that it needs not or worries not. But typically masculine characters are always fighting, and most violence comes from some agitated level of fear and anxiety.