Being with an insanely jealous person is like being in the room with a dead mammoth.

Nerves provide me with energy... It's when I don't have them, when I feel at ease, that's when I get worried.

Being with an insanely jealous person is like being in the room with a dead mammoth.

The only safe thing is to take a chance.

'Streetcar' is no longer about the moment at all. There is no Blanche DuBois anywhere; south, north, east or west. We don't have Blanche DuBois at the moment. But we have Willy Loman; everywhere we look we see Willy Loman. We are Willy Loman. We're on Facebook; we need to be known; we're selling all the time.

A great thing is happening on cable TV. You see characters change in stories over years, like in Tolstoy. That's a whole, thrilling new form that I really enjoy. They are Tolstoy-an in their endless character development and narrative changes... a show like 'Breaking Bad' is astonishing.

A movie is like a person. Either you trust it or you don't.

A play, after all, is a mystery. There's no narration. And as soon as there's no narration, it's open to interpretation. It must be interpreted. You don't have a choice... Each play can become many things.

All the theories that acting is reacting to imaginary circumstances as though they are real, and directing is turning psychology into behavior, those are all stabs at something that can't be taught. All the great actors can't talk about what they do, and they don't want to begin to talk about it. They just do it.

American society to me and my brother was thrilling because, first of all, the food made noise. We were so excited about Rice Krispies and Coca-Cola. We had only silent food in our country, and we loved listening to our lunch and breakfast.

Any good movie is filled with secrets.

As a director, my job is, and always has been, divided into a number of things: dealing with the crew, the money and the studio, and the marketing and publicity. These are all different jobs that have to be learned and done as well as possible. The celebrity part rarely touches a director.

As a little kid in a sometimes hard place, I went to the movies as often as I could. Movies - making them, seeing them - is not something that could ever lose its pleasure for me. That puts them on a short list of things that eternally give me joy - love, family, food, movies.

Chicago is not a very fashion-driven place. Nobody says, 'Oh, you've got to come see these fabulous people!' Nobody cares.

Clay Aiken is amazing beyond that glorious voice. Turns out he is an excellent comic actor and a master of character.

Directing is mystifying. It's a long, long, skid on an icy road, and you do the best you can trying to stay on the road... If you're still here when you come out of the spin, it's a relief. But you've got to have the terror if you're going to do anything worthwhile.

Everybody wants to be known. Everybody's a Kardashian.

Fear of comedy is all so much about who you do it with.

For a director, a musical is a special kind of hell.

Here's the most mysterious thing to me. I look back at those first plays I did and the first movies I did, and I only have one question, which is, 'What was I so confident about? Where did I get that?

I am drawn to the mystery of marriage. You can never know what the contract is between two people, and that is a very strong subject. I think it may be my subject.

I asked a shrink: 'Everything is so great. Why am I still so angry?' He said, 'Anger doesn't go away.' I always thought it was kind of a good engine.

I believed early and still believe that everybody who can act can do it already, just they don't know how and don't want to talk about it.

I came to love silence, because it's so rare, and it's now my favorite aural condition.

I had a high school girlfriend whose mother gave us theater tickets, so I saw the second night performance of 'A Streetcar Named Desire.' My girl and I could not get up during intermission, we were so stunned. To this day it's the only thing I've seen on stage that's 100 percent real and 100 percent poetic simultaneously.

I keep coming back to it, over and over - adultery and cheating. It's the most interesting problem in the theater. How else do you get Oedipus? That's the first cheating in the theater.

I love to take actors to a place where they open a vein. That's the job. The key is that I make it safe for them to open the vein.

I loved all movies, literally. I certainly loved 'Shane' and 'Roxie Hart.' Later on, when I was less of a kid, I loved 'L'Avventura' and 'Persona' and all Fellini movies and like everybody else I loved John Ford. Then and now, I loved Preston Sturges, maybe above anyone.

I never understand when people say, 'Do you do comedy or tragedy?' I don't think they're very much different. They both have to be true, and there isn't a great play in the world that doesn't have funny parts to it - as 'Salesman' does, as 'King Lear' does. The whole idea is to reflect life in some way, which means surely you have to have both.

I still think that luck is what a lot of the good things come from. It's simply the luck of where you are, when.

I think a director can make a play happen before your eyes so that you are part of it and it is part of you. If you can get it right, there's no mystery. It's not about mystery. It's not even mysterious. It's about our lives.

I think that to make something alive, instead of on a page, is an honorable task. And it turns me on.

I think the main thing about comedy and humor is that it's impossible and always was impossible to define.

I used to say that winning the Oscar means being back at the Beverly Hills Hotel at 1 A.M. feeling empty. It's the industry voting. It doesn't come from God. It doesn't change your life, really.

I was standing right behind Marilyn, completely invisible, when she sang 'Happy birthday, Mr. President.' And indeed, the corny thing happened: Her dress split for my benefit, and there was Marilyn, and yes, indeed, she didn't wear any underwear.

I'm anything but confident.

I'm in the theater because of two plays: 'A Streetcar Named Desire' and 'Death of a Salesman.'

I've learned that many of the worst things lead to the best things, that no great thing is achieved without a couple of bad, bad things on the way to them, and that the bad things that happen to you bring, in some cases, the good things.

If you lose a parent, it never goes away. As a kid, I dreamed about my father coming back for 15 or 20 years. I still do sometimes.

If you want to be a legend, God help you, it's so easy. You just do one thing. You can be the master of suspense, say. But if you want to be as invisible as is practical, then it's fun to do a lot of different things.

If you're fleeing Nazi Germany in 1939 and you're a Jew, you don't think so much about relationships. People didn't have a lot of divorces during the Holocaust, for instance.

Improvisation has to do with exploring something like two brothers in a room together. You find out things about situations by discovering the things that they aren't saying. It's a way to explore scenes. Sometimes it's more useful than others, but it's always there to see if there's anything that you might improve.

In a weird way, when I was looking back, I didn't know I was going to be a director until I was.

It took me forever, learning improvisation, because I had studied with Lee Strasberg - I dropped out of Chicago and went to his classes in New York for a couple of years, once or twice a week. What I didn't realize was I was learning directing because he wasn't all that good about acting, not for me.

It's not a film-maker's job to explain his technique, but to tell his story the best way he can.

It's the hardest thing on earth to like yourself, and then when you do, it's a catastrophe. I mean, the people I know who like themselves - I don't want to see them!

It's very weird about movies: you never know which ones are going to stay alive and which one are going to be meaningless. When you're there, you couldn't possibly predict it. Some things slowly die, and others slowly stay a while.

It's very, very corrupting to the spirit, doing comedy. And you have to be almost a saint, like Jack Benny was, like Steve Martin is, to avoid the corrupting of it, because there's very little work where the actual work and the reward are simultaneous, and comedy is that.

Limitations are inspiring: they lead to thinking, so I don't mind them.