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“And what you do is you go into where your anger is, if you're writing anger, you go into where your hatred is, if you're writing hatred. Your joy is, if you're writing joy. You find the source of the energy that draws hatred, anger, joy, etc., etc., etc. That's what you have to find. That's what you do as an actor and that's what you do as a writer. And you bring people to the page.”

“I read the script and I really liked it. It was high energy, crazy and it goes to any level to get people nuts and I thought Eve was an interesting character. At first I didn't get her, so it made me want to do the role because I wanted to dive in and see what she was about. On top of that I also wanted to work with Jason Statham because he's an amazing actor.”

“This is advice I would give to any young actor - if you go into a room with anybody and you come in with a positive attitude and a place of love, and you truly do love what you're doing, then the negative energy doesn't even get into the room. You just have to prepare, and then go in and be the best you that you can be, and you'll either get the job or you won't.”

“My preference is live performance. Because you get the feedback. There's an energy. It's live theater. That's why I think actors like that. You know, musicians need it, comedians definitely need it. It doesn't matter what size and what club, whether it's 30 people in the club or 2,000 in a hall or a theater. It's live, it's symbiotic, you need it.”

“I think that for a lot of actors - especially American actors - to get line readings and to be told and have your director literally act out the part for you is sort of discouraging in a way. It's a very Eastern European thing to do - a lot of directors that I worked with in Russia did that as well. And, I never took that as an insult, as many actors tend to do. To me, I think it's just offering a certain energy - offering their flavor - and, instead of trying to sort of decode and communicate it to you, they just show you their flavor of what it should be.”

“The theater is a baffling business, and a shockingly wasteful one when you consider that people who have proven their worth, who have appeared in or been responsible for successful plays, who have given outstanding performances, can still, in the full tide of their energy, be forced, through lack of opportunity, to sit idle season after season, their enthusiasm, their morale, their very talent dwindling to slow gray death. Of finances we will not even speak; it is too sad a tale.”

“The requirements of the theatre are very great--a strong constitution, energy and unflagging purpose, charm of feature, these alone do not necessarily mean anything, and they must not be relied upon as assurances of an easy conquest of the public heart. It is not only a question of fitness for the work, but of long years of most diligent effort to master the technique of the theatre, and to develop whatever of the art instinct we may possess upon the simplest, broadest, and most human lines.”