A theater is being given over to market forces, which means that a whole generation that should be able to do theater as well as see it is being completely deprived.
Faith minus vulnerability and mystery equals extremism. If you've got all the answers, then don't call what you do 'faith.'
A lot of directors tend to manipulate actors' vulnerability to get what they want, and that can work.
When you're in front of the camera, for a small budget or a big budget movie, there's no difference.
In 1972-73, the Soviets began running operations against me. In 1977, these operations became very serious.
Your response to literature is to do with maturity; if you don't respond to a book or a poem when you are 12, you might when you are 13.
For me, being a complete artist means not necessarily just being in front of the camera, but being behind the camera or being the originator or creator of something.
I have another aspect of my career where I'm a scholar of Yiddish and Hebrew literature, and I'll say that when you study Yiddish literature, you know a whole lot about forgotten writers. Most of the books on my shelves were literally saved from the garbage. I am sort of very aware of what it means to be a forgotten artist in that sense.
I had no interest at all in opera or singing. I saw my fellow students struggling with their scores, laboring to memorize operatic roles, and I thought, 'That's not for me!'
You know, I think of the global economy as an inverted triangle, resting on the shoulders of the American consumer. And if the American consumer cannot have enough disposable income in order to maintain a standard of living that creates more opportunities generation after generation, that's bad for everybody.