There was something about being in front of audiences when I was in elementary school plays that gave me a thrill. It was like the rush you get from a roller coaster drop.

I take the responsibility of choosing seriously because it becomes an indelible part of your body of work. Something has to sing to me.

When I was 5, my mother threw a party, and a friend and I wrote and performed a play called The Dutch Doll.

There are all kinds of other things I could do, things I would probably like, but only acting would give me emotional fulfillment.

I was offered one of the roles in a big project that shall remain nameless. I thought the whole thing encouraged violent sex crimes toward women. It made horrible, ghastly rape violence seem sexy. I just didn't want to sign my name to it.

My major in college was Chinese Studies. It was very intentional.

I had started off, before I ever got an acting job, working at Robert De Niro's Tribeca Productions as a reader. I was always interested in that side of the camera.

Acting is doing, because everything you say or do is some kind of an action, some kind of a verb. You're always connected to the other person through some kind of action.

The Oscars have become such a big deal these days that it's just used as adjective.

I assume that if people get to know me, they'll like me. If they don't, it's not my problem.

Once you've found something you know how to do, it makes you feel you don't have to be intimidated by someone.

It's the relationships between people that are more important than the sort of far away fantasies of what the good life is, the world of supermodels and Bud ads.

The name game is frustrating. Agents will say, They love you, but they're going to offer it to Julia Roberts first.

I had been looking for a New York apartment, but I said, Why not give LA a go?

We all struggle with our failure to communicate and our failure to reach beyond fear to love people.

I have learned to pare down what I do and still be effective and strong in a role.

I could have seen myself going into academia, but I don't love it; I just like it.

I hope that doing truthful portrayals of people in a variety of circumstances gives people a kind of subterranean link to those characters.

My father taught me how to substitute realities.

Being is like pretending.

I'll talk to myself out loud a lot.

I had a Christian upbringing - it was all about sin and guilt. I was very happy just kissing people. I was like the make-out queen - not even second base.

I wanted to do something far from my intellectual and physical home, so I went to live in Beijing for eight months and took Mandarin Chinese.

I want my life to effect the balance to the positive.

Sometimes I feel limited by people's perceptions of what I can and cannot do, or what I do or don't look like.

I have a hard time getting motivated to do something that seems like a career move. I've gotten into vague trouble with my agents for turning down work that I thought was exploitative.

I hate it when people use sex as a weapon against the people who are engaging in it. It's so hypocritical.

There was something about being in front of audiences when I was in elementary school plays that gave me a thrill. It was like the rush you get from a roller coaster drop.

Now that I've got some films under my belt, I have the courage of my convictions regarding acting. It gives me a leg to stand on.

I try to become more humble and more myself with every year. There was a while when I got famous where I was so confused and my head was spinning.

I'm doing things that are more artistic again, more close to the material that I love. I don't disparage those things that I did. They're just not as much reflective of who I am.

I always feel I can play a role - just give me the time to do the preparation and I'll be it.

Acting is what happens on the way.

We're making a commercial Hindi film catering to all types of audiences.

I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.

Audiences always sound like they're glad to see me, and I'm damned glad to see them.

What I wanted to do was to get that sense of being in touch with this lost world while holding onto what draws readers and audiences there in the first place.

We make films that we ourselves would want to see and then hope that other people would want to see it. If you try to analyze audiences or think there's some sophisticated recipe for success, then I think you are doomed. You're making it too complicated.

Sylvester has a great popular sense, as good as any writer I've ever worked with. He knows what audiences want to see, and what they don't want to see.

Phish and Dave Matthews really know their audiences and really treat them well.

We were tremendously encouraged by the testing of Analyze That. Audiences loved it. They were telling us that they liked it as much as the original. We recorded the laughs in the theater.

Anyway, I collapsed in France in the middle of a tour. I hadn't been eating properly, I was getting very phobic about audiences, and I collapsed in pure fright.

Though I am still very vulnerable to audiences - and it happens all the time - where for some reason the energy doesn't connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.

I don't pay attention to target audiences and therefore I often hear that I am a ratings killer, somebody who fundamentally doesn't care whether one person is watching or an entire soccer stadium.

I want to do what I want when I want to do it not be dictated to by audiences.

I also want to return to doing stand-up. I've become frightened of live audiences. This is a really telling sign that I need to go back on the comedy circuit again.

For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that's really an interesting thing. I have an audience that goes from kids to seventy year olds.

When audiences come to see us authors lecture, it is largely in the hope that we'll be funnier to look at than to read.

I like cinema audiences. I respect them, and I talk to them just like I would anybody I know.