The only reason my work seems to be eclectic up to a certain period is because I was a failure as an actor.
I’m not a hopeless romantic. I’m quite the reverse. I’m a nasty piece of work, an ego maniac.
I don’t hate L.A., but I’m nervous about becoming one of those people who has a ferocious interest in how films did at the box office that weekend and, you know, would want to meet for egg-white omelets in the morning.
Women are frightening. If you get to 41 as a man, you’re quite battle-scarred.
For any new technology there is always controversy and there always some fear associated with it. I think that’s just the price of being first sometimes.
Courage is soldiers fighting on the front line, or people living on the bread line.
I think there’s something unromantic about marriage. You’re closing yourself off.
I think marriage is only necessary if you’ve got children. It’s quite nice for them.
I’m a terrible actor. I’m still learning. When I first started, I wish I knew then to trust myself more, really. I was in a terrible panic in the early part of my career.
Frankly, I think I’m marvelous in rehearsal! Then you turn the camera on, and it gets stiff and tight. And then you trudge back to your trailer feeling sad. That’s been my experience of film acting.
The reason I turn down 99% of a hundred, I mean a thousand, scripts is because romantic comedies are often very romantic but seldom very funny.
As it is, I have a limited range as an actor – light comedy. I have never been a fan of romantic comedies, and yet that is what I have ended up mostly doing.
I never meant to be in romantic comedies; it’s just what ended up happening. But they are tricky, in a post-1960s sexual revolution way. It was easier when you couldn’t have sex scenes: everything crackled very nicely. They’re not easy.