Setting a movie in an earlier age gives it a mythical quality.

Peter Riegert

Categorized in : Age Quality Movie Setting

We don't think of them as acting, but we take on certain characteristics based on where we function, and those relationships draw out aspects of who we are as people. And that's what acting is. Different parts draw out different parts of your nature.

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You realize Shakespeare wasn't stuck for an idea when he said, 'All the world's a stage.'

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It never occurs to me that acting with a superstar is something to worry about. I figure the bigger the better because more will be demanded of me.

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It's a very neurotic time we live in, this postanalytical period where everybody goes to a shrink to solve their problems.

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I think when you're younger, as an actor you have much more of a notion that you are doing something to the audience. But with experience, I think you begin to worry less about what the audience's experience is and concentrate on working with the other actors, and that tends to let the audience do more work.

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Ease is something that I think many admire in other people, in sports or whatever it may be.

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There are times when you have to fight for something you believe in, that you love.

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I did 'Animal House' in 1978, then 'Local Hero' in 1983, and then in '88, 'Crossing Delancey.' And I realized that every three to five years, you need a big role to put you into the national psyche.

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When you get older, unless you're a huge star, the parts become less and the competition becomes greater. Because the guys left standing are the best.

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You have to have an ego to be an actor, but you need an ego just to get through life! Unless you want to sit on a corner and suck your thumb, it takes a healthy ego to get up in the morning and say, 'I deserve to be here.'

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There are movies I've seen or books I've read that attach themselves in a way that's greater than the ability to understand why. How do you explain that kind of connectedness?

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You rely on a lot of things about learning to play a particular character.

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Obviously, any time you're closer in terms of what your knowledge is to a character, you can add something. But an actor's job is not to play only people he can identify with.

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I did a play in high school, then one in college. My first professional experience was off-off-Broadway. I'm conveniently blocking the title. I'm sure I was terrible.

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A movie is a filmed rehearsal in a way. The audience doesn't know that because you're taking out the things that don't work. There's no comparison to the theater because it's live. But making a movie is just as challenging and exciting, I find. A movie is pure process. The theater is the result of process.

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I apply the three gag rule, which is if I can read a script without gagging more than three times, then maybe I can say yes to this job.

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There is a temptation for an actor to editorialize what they're doing. And you can't do that with Pinter. It's almost like a musical score. His lines are so specific, but they can mean different things to different people, like an alternating current.

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As a matter of fact, part of being Jewish is the whole question of what it is to be a Jew.

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Sometimes you make a connection with a writer or a piece of material, and there's not much to ask.

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I got to learn from the American audience. Hearing what it is they're not getting. These are audiences, 35 to 40, an older demographic that controls seven to 10 trillion dollars. And the producers and distributors have convinced themselves this group doesn't go to the movies.

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