I'm more comfortable with whatever's wrong with me than my father was whenever he felt he failed or didn't measure up to the standard he set.
I have at times spoken with my peers and the head of the actors' union about why we're not paid when we appear in, say, a 'TMZ' production, but there seems to be no real interest in combatting it.
I can have incredible self-discipline. But see, I think it's obviously a form of stupidity.
The most evocative thing to me is probably when a writer and a group of performers can collectively put together something compelling that asks the really simple question: 'How do we live?'
I am inspired by the appearance of a bohemian of the new millennium. I thought it was necessary to update the figure of the bohemian, but not in the traditional way.
When you do a really good play, the audience and the performers are looking into the same looking glass, the same microscope. And the specimen they are looking at is human life and that's why I do it, that's why I like it.
I know fashion can be intensely goofy, but it is something I've always taken pretty seriously.
I love Chicago, but in a lot of ways it's a disappointment. You can work there for years and years, and because you're in Chicago, you don't get the recognition. It has some of the best theater in the country, but when they shoot a movie there, they bring in all their actors.
Actors generally get to do things you probably shouldn't do in real life - well, at least as much as one might like to or be tempted to. Though I suppose a lot of actors just go ahead and do it, don't they?
I brought my first fall/winter line to New York, and it was confiscated by U.S. Customs. They asked, 'What is the value of this?' I said, 'I'm not so good with existential questions.'
When you think of how history is revealed, we know certain things to be facts at certain periods of time, which turn out not to be so factual as time marches on.