Developmental readings are actually the best part of being an actor for me. I once spent a month doing so many developmental readings at the Roundabout that we all joked that I was an 'artist in residence' there. But to me, it's such a special time to be involved with a new play.
I love doing the readings. The readings are the fun bits... The readings are probably the things that actually keep me going on these. If I couldn't do the readings, I wouldn't do the [signing] tours. I get to stand up there and read to a bunch of adults who in many cases nobody's read to in years, since they were about five. They just squat on the floor. That's enormously enjoyable.
I'm happiest in nature, in trees, rivers, streams, and I'm happiest around my kid - you know that's the funny thing, he is not always in the best of moods, but I am always happiest around him and in nature. Around my family is where I am happiest.
The next time I write a play - in order to get audience trust for a particular sort of tragic line, I'll try to bring the audience a good distance before that. Part of that is allowing comic moments to occur. I had been afraid of that - that once the audience started laughing in the play, they would never stop.
It's critically important to have family around me, and some of my happiest moments are when I'm just with my family.
Life, to me, is never one color. Even in the saddest moments, you can have a chuckle. And in the happiest moments, you can shed a tear.
If you recall the happiest moments in your life, they are all from when you were doing something for somebody else.
You know, when I put out records that may not work or connect with the audience, it's because I'm pushing myself as an artist creatively, because I'm just bored doing what everyone wants me to do.
My happiest moments are when I'm on my high wire with the Johnny Carsons of the world. I don't have that opportunity if I'm doing other people's scripts.
It's always been very important for me to be surrounded by people. It's never been enough for me to be successful alone. I want to be around people my own age who are also doing things I can learn from. And something Francis Ford Coppola said when we were doing the movie was, "If you learn something about people when you do dinner with them every week, you'll learn a lot more if you play softball with them every week." This is us learning what the climate is creatively among us.
I'm interested in the moments where the audience is restless. I'm interested in the moments where they lean in and become incredibly engaged: the laughter, the silence. All of that is part of how I think about shaping and rewriting the play.
Perhaps it’s true, my happiest moments are the anticipation of other moments still to come.
The best moments in my life are just before going to bed. Those are my happiest moments.
Looking back, some of the happiest moments of my childhood were spent with my arm in packets of breakfast cereal, rootling around for a free gift.
For me, some of the happiest moments on a live-action film are the awkward moments. One actor says something to another actor. They didn't expect that performance from that actor; that affects their return performance.
I've always played Vash [in the Sausage Party]. I played him at the table read. We probably did five or six table reads over the course of the first five years of trying to get it made and finally getting it made. I saw a lot of actors come and go, but I stuck around, so I guess they were happy with what I was doing. No one could play a lavash wrap like I could.