New Orleans in an amazing town.
The place I feel most at home is when I have health insurance. I really don't care how I get it, whether it's on film, or television or waiting tables, you know?
You learn history in school, and you have a reverential feeling toward it. But by being irreverent, it feels current.
My dad is kind of a rascal, like in a Dickensian sense. He just goes from career to career.
I can always go back to construction. That's great money, but the problem is you can cut off your hand.
You think of George Washington, this man who was larger than life, and in some ways he was. But at the same time, he's just a person.
If it doesn't feel like a job and I'm learning something and getting that rush that I get, I don't care if it's behind a camera, on a TV set, or on the moon.
I only play projects with weird interpretations of presidents.
You never can take for granted that you have a job.
Every job is an opportunity to be a better person.
The only thing more intimidating than a huge international film star is your mother-in-law.
You never know when you'll have a bad idea for a worse joke.
Maybe I'm naive, but I subscribe to the idea that nobody is actually making strategic decisions about their career. Trying to do that would be like playing three-card monte on Canal Street.
Part of your job as an artist is to push yourself and make sure your creative juices are flowing.
The vampire craze is kind of fascinating. We're interested in the idea of immorality and I think we're drawn to people or creatures who can give in to those base impulses and just be bad and not feel bad about it.
You know, 1% of us is in the armed forces, protecting the other 99, and they're all volunteers.
I always felt that if somebody picks on you it's because they're not happy doing what they're doing.
I'd consider myself a flailing comedy writer.
Don't trust somebody that don't have a troubled period.
I went to Julliard and we did a lot of mask work there, and I remember thinking in class, 'When am I ever going to use this?'