I try to steal from the best. Suck it all in. 'Taxi Driver' is really a bible for film actors, a master class. A lot of emotional power, a lot of emotional depth but it's contained and you just see the tip of the iceberg.
I've studied a technique called the Sanford Miesner technique, that teaches you how to focus. It's mainly about daydreaming. And the technique's really about imaginary circumstances. Using your imagination to sort of daydream about stuff. It makes you emotional in a scene.
I took a break after 'Confessions.' I was real picky. And then I suddenly realized I hadn't worked in a year. And I was sort of, like, not really happy. I think people are happier when they have structure, you know? You realize that as you get older. You have to have rituals and structure.
Some actors don't want to, but I prefer to. I like to collaborate. Sometimes you have to keep it to yourself, and people want to do their own thing.
I do everything I can to have a diverse career because I just want to have options. I know that I can do Hamlet or I can do Stanley Kowalski, you know.
One thing that bugs me in comedy is when somebody does a fake cry, you know, like they fake cry in a comedy. But in a drama they'll really cry. That bugs me.
I used to break dance. I can do some good James Brown footwork. But now I think I've danced too much. My girlfriend made fun of me: 'Enough with the dancing.'
I'm happy that I'm finally getting some lines in my face. I always looked too young for the kind of roles I wanted. It was constraining. My face didn't fit my innards until I reached 40.
I had those kind of parents where I watched all of these very sophisticated movies: 'Five Easy Pieces', 'One Flew Over the Cuckoo's Nest.'