Liev Schreiber
I get very nervous around famous people and I get nervous around beautiful women.Collection: Famous
You'd think true masculinity was just calm and collected happiness. So alpha male that it needs not or worries not. But typically masculine characters are always fighting, and most violence comes from some agitated level of fear and anxiety.Collection: Happiness
I have Slavic fat pads that make me look like a chipmunk and arched predatory eyebrows. With that, you're not going to get funny. That's why I play so many bad guys.Collection: Funny
I was a writer. I just wasn't a very good one. I was lucky enough to have a playwriting teacher who told me that I'd be a better actor than I would a playwright.Collection: Teacher
I've got nothing against L.A. I think it is a really beautiful place. To be able to surf and get out in the Pacific Ocean every once in a while. The hiking, all of that is amazing. I love it there.Collection: Amazing
I love having that creative discussion where, at the end of the day, you both feel better for having done it. Maybe it's a typically Jewish thing, where you sort of go at each other.
I was always curious about motivation and intention, and really, that's a lot of what acting is.
And you know, I hate to admit this, but I don't always think in terms of Shakespeare. When I eat, I do. When I'm at a restaurant, I'll think, 'Hmm, what would Macbeth have ordered?'
I find that the most interestingly written parts happen to be the bad guys.
I really never thought I was that good at film. And honestly still don't. My strength is language. My background is monologues and a certain kind of Brechtian spin on theater.
My grandfather was raising me, and in many respects, I was trying to understand what it meant to be a man. He was my role model.
My style was always intuitive. I never used to believe in working on your body. Anything that smacked of vanity to me was bad for your acting, but I learned that wasn't true.
Everyone says villains are thankless parts, but those are really the best roles.
You hear different things from different people, and they're all valid: they're all valuable. I think that's what comprises a performance is all those ideas.
During 'Manchurian Candidate' - that role originated with Laurence Harvey, and I studied everything he did. I would never be able to reproduce that performance, but I got a lot of ideas from watching it.
Home is New York.
I went to school in Massachusetts at Hampshire College.
I think conflicted characters are always more interesting.
I'm someone who started in the theater and really couldn't stand repeating the show. My favorite part of acting is the five or six weeks of rehearsal that you get. I like doing previews; I like the opening week because my friends and family come, and then after that, I don't want to do it anymore.
I've never been a heavy practitioner of the method or, at least, with any specific intent; I'm kind of an impulse-based person. Like, I'm sort of waiting for something to happen that I'm not expecting, and I kind of want to jump on that train of emotion, whatever it is, both from myself or from the other actor.
I struggle with the idea of comparing people's work and art. The notion of giving awards or putting a competitive spin on something that is a relative art form is sort of odd to me.
I had great teachers, great ensembles, and great companies to work with who supported my career.
No offense to the Canadians, but I believe location is like a character, and authenticity really matters. When you're in a place like New York or D.C., you just can't beat it, and it's so hard to recreate because they are both such distinctive places. I think it's pretty easy these days to tell films that are shot in Toronto.
I'm terrible with big parties.
I was always curious about motivation and intention, and really, that's a lot of what acting is. I was a little bit different.
The guy who kind of broke the story in 'Spotlight' was a priest, the guy who had sort of done all the research. One of the things he said when one of the 'Spotlight' reporters asked him how he could still remain a Catholic, he said that, 'My faith is in the eternal, and the church is an organization.'
We have to remember to respect the faith of people and maybe not the organizations or the groups that manifest around it.
The premise for me has always been that it's vulnerable people who do violent things. And the more vulnerable they feel, often, the more violent they are. But I think, you know, that's an idea that comes from history, from classical theater, for me.
That's really how I got started was doing Shakespeare. When I got out of school, I was lucky enough to meet George Wolfe, who ran The Public Theater.
I think, the first time I played Iago at the Public Theater, I realized I had a - much to my chagrin - I realized I had an instinct for these conflicted characters, for these torn characters, for these characters who could be described as evil. I wouldn't describe them that way.
My mother didn't let me see color films. I saw a lot of black-and-white films. The first time I saw Basil Rathbone, I was completely taken. To me, that was the epitome of great acting, was Basil Rathbone - not only in Sherlock Holmes, but the Sheriff of Nottingham, and all the terrible characters he had to play alongside Errol Flynn.
The interesting thing about doing serial television is that the character is growing separate from you, the character and the show are growing, and you get to observe that and participate with it in a way that I think is actually really exciting for an actor.
It's finding time for each other. That's the trick to any relationship, you know. Finding time to really be present for each other.
I remember finding 'Harold and Maude' strangely erotic. I've always had an octogenarian fetish.
I find old women at weddings and funerals attractive; I have this weird mortality thing.
The worst bar fights I ever saw were in London. I saw a guy break a pint glass in another guy's face in a club in the Eighties. It was a gay club, too.
When my grandpa was moved to physical action, you felt utter terror.
I have the kind of face that people want to punch.
Theater is consistent. You ride your bike to work. You get most of the day off so you can see your kids. My problem is that after three months, I go mad. One of the reasons I never thought I could do a TV show is that I hate doing the same thing over and over again.
Entitlement is lethal.
I did some research into what was going on in terms of the sexual revolution that was happening in the '60s in the gay community and particularly in the drag world. Before the '60s, guys doing drag would dress like their mothers or iconic Hollywood actresses.
My publicist told me not to talk about politics but, yes, I think we have a president who stole the election.
There's nothing more exciting than that conversation you have with a live audience. It's the best feeling in the world.
I love my mother and father. The older I get, the more I value everything that they gave me.
I manage to hide in my movies.
You can think about your career or you can think about your job. I like to think about my job.
As soon as you know what you're doing, you're doing it wrong.
There's the private persona and the public persona and the two shall never meet.
Hamlet is a remarkably easy role. Physically it's hard because it tends to be about three hours long and you're talking the whole time. But it's a simple role and it adapts itself very well, because the thing about Hamlet is, we all are Hamlet.
If I'm doing my job as an actor, the audience knows everything I know about the character.