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To create characters, one must build background. And one of the tools we use is improvisation.
The way I see things, the way I see life, I see it as a struggle. And there's a great deal of reward I have gained coming to that understanding - that existence is a struggle.
I believe every day when I wake up and go to bed and during my dreaming time there's some moment of truth that's in front of me that will always be in front of me until the end of days.
Everything is difficult, and everything worthwhile is difficult. A certain need, a need not unlike Mickey had: to know, to understand, and I had that need to understand and to know.
You're working on being a father, so that is something that when you experience it you'll understand the profundity of wanting to protect something dear to you.
What fascinated me mostly about Mickey Cohen was that he, in his later years, hired someone to help him to comprehend literature, to help him to read better, to understand words better.
Uhm, I'm the one wanting the lessons! I don't want to say too much about it because I'd rather have you see the movie, but he's trying to find his music.
Then I heard this genius teacher Stella Adler - I recommend you read anything you might find about her and if you have anyone interested in theatre, you get them one of her books.
My advice to any actor who's playing, quote, unquote, "extra" to think of it more like Stanislavski did. It's not a small part. You are the lead in the movie, in your own movie.
It's always a pleasure to see John. I'm fond of telling people that when I was a young actor in NY and had no work ,no money, you know the story because you're heard it before.
Well, it's such an intricate, beautiful script about eight professional robbers pulling a heist, and it deals with elements of betrayal, trust, instinct, and need for relationships.
So there's no such thing as one too many this, one too many that. I remember, you're reminding me of early in my career, somebody said to me: why are you taking so many roles as a policeman.