No, I grew up admiring people who played ice hockey.
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.
I've got nothing against L.A. I think it is a really beautiful place. To be able to surf and get out in the Pacific Ocean every once in a while. The hiking, all of that is amazing. I love it there.
I get very nervous around famous people and I get nervous around beautiful women.
I was a writer. I just wasn't a very good one. I was lucky enough to have a playwriting teacher who told me that I'd be a better actor than I would a playwright.
That's one of the benefits of working on big budget films. You work with people who have a lot of experience and you get to learn a lot.
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.
You watch a hockey game, and the hand-eye coordination and the speed is really miraculous; how those guys track the puck alone, just following it with their eyes.
I think New York will always be this incredible international crossroads, and I don't think that will ever change.
I am very good with dialects, but the two that I can't do for some reason are the South African and Australian.
I grew up in the Lower East Side of New York.
My mother didn't let me see color films. I saw a lot of black-and-white films. The first time I saw Basil Rathbone, I was completely taken. To me, that was the epitome of great acting, was Basil Rathbone - not only in Sherlock Holmes, but the Sheriff of Nottingham, and all the terrible characters he had to play alongside Errol Flynn.
I'm someone who started in the theater and really couldn't stand repeating the show. My favorite part of acting is the five or six weeks of rehearsal that you get. I like doing previews; I like the opening week because my friends and family come, and then after that, I don't want to do it anymore.
I remember finding 'Harold and Maude' strangely erotic. I've always had an octogenarian fetish.
I find old women at weddings and funerals attractive; I have this weird mortality thing.
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 didn't think that a career in theater was very realistic so I thought the only thing I could make money doing and still be somewhat artistic was, god help me, advertising.
I had great teachers, great ensembles, and great companies to work with who supported my career.
I think it's really, really important to mix it up as an actor, to try to get as much kind of varied experience as you can, not only for your own personal growth as an actor but for the audience to keep them guessing about what you're going to do.
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.
