Liev Schreiber Quotes

And I think for me there's a lot of neurosis involved with where you should be or thinking about where you are all the time instead of being where you are.

I'm kind of an obsessive-compulsive person, like, neat obsessive.

I am so used to being able to express myself from being an actor. So when people don't understand me, I'm just completely lost.

Don't hit people; don't let it get you too angry; remember that everything you do can and will be used against you. And take a breath and have some perspective.

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 really don't think there is anybody in the business with better eyes than Elijah Wood.

Every girl I've gone out with has said something to me first.

I live with an 18-month-old Jack Russell named Chicken. He moved in about 15 months ago, and it was very hard at first because I work a lot and he doesn't.

Style, no matter how outrageous it is, is still an expression of someone's personality. And my personality is somewhere stuck in the classics.

I actually loved Winnipeg. Everyone told me I was going to hate it, but it was great.

Well, I don't think I've ever been a huge target for the press, and I value that to a degree, because there's a certain value for actors staying beneath the radar so they can play characters.

Everyone assumes that novelists are smarter and more interesting. They're generally smarter and more interesting, but they're often very short. So it kind of cancels all the smart and interesting stuff out.

If you fall in love with somebody you're working with, fine, but wait till your project is over.

The best gig is the one you've got.

I'm actually a very bad surfer, which is good because everybody likes a bad surfer. Nobody likes a good surfer.

I get very nervous around famous people and I get nervous around beautiful women.

I was always drawn to tough girls. I liked that domineering thing.

I get panic attacks in big crowds.

That's one of the benefits of working on big budget films. You work with people who have a lot of experience and you get to learn a lot.

If you are going to remake a film, you may as well remake a classic.

I think it's really, really important to mix it up as an actor, to try to get as much kind of varied experience as you can, not only for your own personal growth as an actor but for the audience to keep them guessing about what you're going to do.

The funny thing is that I write and I act a lot about being Jewish, but I don't really think about it as a regular person.

I'm not that interested in working with impervious people.

Actors, you know, they're often awkward people in real life.

Film is such a bizarre vehicle for acting. It's such a bizarre experience. I don't think you ever really get familiar with it. If you do get familiar with it, you're probably not that good anymore.

I manage to hide in my movies.

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.

You know, I have a deep, deep affinity for Dr. Seuss.

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.

I find that the most interestingly written parts happen to be the bad guys.

If I'm doing my job as an actor, the audience knows everything I know about the character.

As soon as you know what you're doing, you're doing it wrong. That's what I find with acting. As soon as it becomes padded, it becomes pat.

I think New York will always be this incredible international crossroads, and I don't think that will ever change.

I grew up in the Lower East Side of New York.

Where else do you find great directors? Acting is one of the places.

As soon as you know what you're doing, you're doing it wrong.

I think that everything I've ever done at some point is part of someone else's legacy.

You watch a hockey game, and the hand-eye coordination and the speed is really miraculous; how those guys track the puck alone, just following it with their eyes.

No, I grew up admiring people who played ice hockey.

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.

You always have to create the character from the ground up.

I am very good with dialects, but the two that I can't do for some reason are the South African and Australian.

I didn't think that a career in theater was very realistic so I thought the only thing I could make money doing and still be somewhat artistic was, god help me, advertising.

It's good to overexpose yourself with work. But don't expose yourself too much with the press.

I'm misrepresented as a scary person. I'm not. It's all about my size and my eyebrows.

The skill set for hockey is so specific to skating and if you haven't been skating as a kid it's impossible to play - and I wasn't a skater.

You should never ask actors about politics.

I was always curious about motivation and intention, and really, that's a lot of what acting is.

There's the private persona and the public persona and the two shall never meet.

A lot of times in Hollywood you're as good as your last job.