Because - Bobby Lewis said this once to us in class, the better you get, the less credit you'll get. Because the better you are, the more it looks like walking and talking and everybody thinks they can walk and talk.

I did get Tom Hanks to say, Life is just a box of chocolates.

The studio is meant to be always a place where, first of all, they can be out of spotlight, and second, where they could work with a peer group on parts that they might not have played otherwise.

I was originally going to be a lawyer, and the only thing I remember from the art of cross-examination is - you can see this one coming up Sixth Avenue - never ask a question the answer to which you do not know.

I thought we would have at most an audience of 5,000 devotees because I made the decision to stick to craft, not to gossip, not to be interested in any of the juicy stuff that they talk about on other shows, but stick to the question of craft.

We are the only school in America, drama school in America that trains actors, writers and directors side by side for three years in a master's degree program, and we want them - to expose them to everything.

Comedians don't laugh. They're too busy analyzing why it's funny or not.

I was dealing with craft, and that's the surprising thing, the number of people who have literally broken down on our stage, because when you're talking about the thing that is most important to someone, they're liable to feel something strong.

I criticize those critics. The reason being that they're doing one of the worst things that ever can be done to an actor, which is to say, Look, you do what we like you to do or else.

I had something called the back of the chair test. Where I sit, we don't sit like you and I do. I can see a sliver right behind them and they come out and they sit like this like god students and they don't touch the back of the chair.

They will take a role that scares them over a role that doesn't. That's another thing I like about actors.

It can be summed up in one sentence. Does this person have something to teach my students? No one has ever let us down.

Because - Bobby Lewis said this once to us in class, the better you get, the less credit you'll get. Because the better you are, the more it looks like walking and talking and everybody thinks they can walk and talk.

What I didn't know that by sticking to craft we would blow open some doors that I never saw opened before.

Hackman is able to live in the moment which means there is nothing for him at that split second than what is occurring in the scene.

I think that anybody's craft is fascinating. A taxi driver talking about taxi driving is going to be very, very interesting.

When it began I wrote this passionate letter to people I knew, studio members, of course, and other people with whom we have worked over the years and I said come and teach our students.

If I were to ask you for example right now to go back with me and define those moments in your life that shaped you as a person and you began to reexamine them, something would happen.

Olivier was another case of a genius, who couldn't understand why anybody would have any trouble doing this, because for him it came so easily.

Geniuses always think it's easier than we make it out to be.

The foundation for film acting is stage acting.

The definition of genius, really, should be that that person can do what the rest of us have to learn how to do.

The difference - the fundamental difference between theater acting and film acting is that film acting is disjunctive.

They change. They're different. There are no two alike, that's the miracle of it. But if they have something to teach the students. You can see them writing during the show.

I wanted when we began this to have a conversation, the kind that you're able to have, and the only way I knew how to do it was not to have a pre-interview.

I'll tell you why, I don't invite the ones I don't like.

And I thought if I don't pre-interview - first of all, we couldn't afford it - but the second thing was it would force me to do my own research, which takes two weeks.

And I thought, my God, there's an off chance that they will say something that's really worth preserving and there is one way to do that and I knew what it was because I come from television.

I'm getting a wider circle of fans now. More women, more middle class people.

The best thanks we could offer those who went before and raised the Irish working class from their knees was to press forward with determination and enthusiasm towards the ultimate goal of their efforts, a Co-operative Commonwealth for Ireland.

Make no mistake: The organization of the working class must be both economic and political. The capitalist is organized upon both lines. You must attack him on both.

In economic panics throughout history, the wiping out of the savings accounts of lower earners and the middle class has often led to social revolution, sometimes violent upheavals.

It is the tendency of the social burdens to crush out the middle class, and to force society into an organization of only two classes, one at each social extreme.

I once said, "We will bury you," and I got into trouble with it. Of course we will not bury you with a shovel. Your own working class will bury you.

I certainly did feel inferior. Because of class. Because of strength. Because of height. I guess if I'd been able to hit somebody in the nose, I wouldn't have been a comic.

I grew up in Michigan, in a very small town, Centreville. In my graduating class, I had like 92 people.

These interests of the workers, as the exploited and oppressed, class of society, are the same in all countries.

We need to work together, on a bipartisan basis, to create new jobs, increase job training, enact real and substantive middle class tax relief, and reward companies that create jobs at home.

At one point in college I was so shy that I'd drop out of a class if asked to speak in front of other people.

I recommend the same therapies for all humans with HIV. There is no reason to believe that physiologic responses to therapy will vary across lines of class, culture, race or nationality.

After some minor pieces of theoretical study that I worked on, a student in my statistical mechanics class brought to my attention a problem in polyelectrolytes.

There is no class so pitiably wretched as that which possesses money and nothing else.

I was a class clown.

I made a living out of being a class clown.

Show class, have pride, and display character. If you do, winning takes care of itself.

I have thought about the next steps, and you know, they still don't know that I can dance. They don't know it, and it's frustrating me because I feel that it's an edge that I have, and I'm not talking about I took this hip hop class, I'm talking about this is how people actually know me.

I met Kevin when I was 19, at a Second City workshop. We were paired up together in the first class I went to. By the end of the class we formed our improv group, and over the next three years we performed leading up to the formation of The Kids in the Hall.

Making my class laugh and getting in trouble. I was the class clown.

If there's an enduring theme in my work, it's probably the effects of class on American life.