From doing A Moon for the Misbegotten, I've learned that nobody's love can save anybody else. There are people who want to die, and nothing or nobody will stop them. The only one who can save you is yourself.
I thought to myself, there's a man who gave up his life to serve others - to touch people in that way is probably the greatest thing you can do as a human being.
Not to oversimplify it, somebody once said a good rule of thumb in interpreting a character is to find the good in the bad people that you portray and the bad in the good.
Presents don't really mean much to me. I don't want to sound mawkish, but - it was the realization that I have a great many people in my life who really love me, and who I really love.
The only way you can continue to make artistic films is to make an occasional one of those. They kind of keep your marketability going to the extent that people will employ you.
I had one of the best days of my life. I spent the afternoon with my two kids and my ex-wife at Serendipity. Then I came to the theater, and you know, I think I did the play the best I've ever done it.
What is that song that Willie Nelson sang? 'Oh, the days dwindle down to a precious few.' I think of that. No big deal. I've reached a stage in my life where I am content.
I don't think we're living in great times for movies, to tell you the truth.
I'm not a very gregarious person. I can't bear attention being called to me in a public place, which is ridiculous in a business that pays you to be noticed.
O'Neill presents a very complex multi-layered kind of challenge. His characters are always deeply complex and, to a great extent, inaccessible.
I think there's a bit of the devil in everybody. There's a bit of a priest in everybody, too, but I enjoyed playing the devil more. He was more fun.
It's actually pretty complex, because there's two levels of reality in the narrative. One is what really took place, and the other is Spider's poisoned version of what took place.