Work begets work. Just work. If you work, people will find out about you and want to work with you if you're good. So work anywhere you can. That's why I've changed my mind about these theatres where people work for free or have to pay money. I think it's kind of terrible that they feel they have to, but you know what? They're working.
I don't have any issues with clowns - I feel like I owe them an apology in some ways.
I think that the dehumanization of another person can happen in the matter of an instant.
Two actors who have different motivations and skill sets can work together and be magic. Charles Grodin and Robert DeNiro technically couldn't work more differently, and yet they made 'Midnight Run,' which is a genius comedy.
I got my Equity card at 24 at the Guthrie Theatre in Minneapolis, and they asked me to join the company. I was content and happy working in the company there for a long while until I really started to feel as if I hit a bit of a glass ceiling artistically.
You can have the most wonderful motives for what you do, but if what you do harms other people, you're fooling yourself.
I got a Bachelor of Fine Arts degree at the Catholic University of America in D.C. and started working as an understudy at the Arena.
Great horror movies are earned. 'Halloween' is an earned picture. Every moment of grotesque violence is earned by the suspense they're able to maintain getting there.
My crazy fear is I'm always afraid my keys are going to fall down a subway grate when I walk over it. I'm afraid they're going to jump out of my pocket and fall down. Isn't that stupid?
Psychological horror I've always appreciated, like 'Rosemary's Baby.' The slasher movies and the grotesque movies are the ones that I've really been off for a while.
As an actor, I've given up judgement of evil, as long as it's human evil - we have to see ourselves for what we really are, and we're capable of horrific things.
If I'm going to rehearse, I don't necessarily rehearse in costume.
I don't go to horror movies. I walked out of 'The Exorcist,' man.
In a world where a lot of people's sense of self is dominated by how many people are following their Twitter feed, what does fame really do, and why is it important?
I chose John Carroll Lynch as my SAG name when I was 19 years old. I was working in D.C., and I got my SAG card by doing a first aid film for the Red Cross called 'Bleeding Control'. They had a union contract.
I never imagined I was going to do movies. My dreams were to become a regional theater actor.
I heard from other people on Twitter that they're very excited about Twisty Halloween costumes, and all I can think is, 'You people are nuts!'
I never think of myself as lumbering, but I guess I am. I forget how huge I am sometimes. I've seen movies where I'm with a group of people, and I'm like, 'God, I'm just so gargantuanly bigger than anyone else there.'
Is fame without purpose and is fame without talent really where we are now? People used to be famous for what they did. Now, they're just famous.
Evil is important for us to look at, in my opinion, only insofar as it makes us look at our own actions and make us wonder, 'Am I participating in some kind of human evil that I really should stop doing?'
