As an actor, what we hope for is someone who is in the moment and completely alive, because that just makes you all the more alive.
Bjork is about as alive as people come. The struggles that she had were almost purely in terms of the character.
By the time I could have played football, I was already into acting and that's what I wanted to do.
Everything is interesting to me.
Film is a very intimate medium.
For a director to be thinking every time you roll the camera for 10 seconds, that's dollar bills going through that camera.
Home wasn't a pleasant place to live, growing up.
I did a series for six years and I may wind up doing one again someday. But at that time, it was hard to be kind of in the same mold year after year.
I don't care about the money. I just need, as an actor, to do as many different things that I can to make me feel good about myself.
I don't even know what TV star means. I know there's a difference in how people approach you, compared to movies. They feel OK coming up to you and sitting with you in a restaurant, unfortunately.
I don't like talking about myself. I'm not really interested in myself. One of the good things about being a supporting actor is that you get to talk about other people.
I got nominated for an Independent Spirit Award. People who make those kinds of films need anything they can get to get attention, money.
I have a DVD player and I have DVDs, and I have no time to watch any of them.
I try to do things I haven't been able to before.
I was stuck as a Boomer type in a lot of people's minds.
I will be always grateful to NBC.
I'm a very private person.
I'm acting for the pleasure of it.
I'm not sure I always feel like I'm in the seat. Sometimes I'm only holding on by one hand and flying out behind the roller coaster. I don't know anybody who doesn't feel that way.
I'm very involved in the family's daily life. I drive the kids to school. I do father-son overnights. I do all the cooking when I'm home.
I've always tried to not let movie, television or theatre be all that my life is about. I've always tried to get involved in the community or my family now I have kids.
I've done a few things with first-time directors, and they're just kind of common decisions that first-time directors make.
I've done scenes in films that I felt like the performance was better in certain takes, but they couldn't use them because it didn't match what the person was doing when they came around and the camera was on them.
I've grown up doing repertory theatre where I've gotten to do all kinds of roles, and then there I was cast on St. Elsewhere for six years.
I've had roles as a computer and as a criminally insane man. These kinds of roles set you free because they're not close to you.
I've tried to let the work I do speak.
In independent film you tend to have stories that involve more of a community, and the smaller characters are important to the story.
In most traditional studio films, there's a real formula. With independent films they are freer to take a different course.
In my first film, I was a basketball player. Like every good actor, I lied when they asked me if I could play.
It's great to be able to have your feet in both worlds. I wouldn't want to be just stuck in one or the other.
My quality as a human being isn't always one that makes people feel comfortable.
No matter how many people tell you, Save your money, when you've got a series, you never do. Somehow it doesn't seem important. Maybe it's because you've been without money for so long as an actor.
Philadelphia is my home. I felt homeless for quite a while. In LA, so much revolves around show business, I never felt it was a very balanced life.
The Crossing Guard, I felt, just my whole experience with that film was about as rich as any film I've ever been on.
There are films you have to do to feed your family because you don't make any money.
There was an actual script, but when you would get in the room and start shooting, there was no rehearsal in the room or wherever you were.
There's a different kind of satisfaction in helping a director achieve, you know, something like The Green Mile, which I thought was pretty terrific.
There's a satisfaction in doing something so challenging that people are going to come down on different ends of the spectrum.
With Sean Penn, he wants to be surprised. He doesn't necessarily want what he's written, although we'll do what he's written. He likes the danger of acting.
You get to the middle of a take that's going really well and the camera will run out of film. They have to stop you, apologize and then you've got to get things going all over again.
In 2003, David co-starred in the sports drama feature, The Slaughter Rule.
In 2000, David acted in Lars von Trier's award-winning Dancer in the Dark. In the same year he also played Meg Ryan's kidnapped spouse in Proof of Life.
In 1998, David appeared in The Negotiator.
In 1996, David played the title role in the quirky romance, George B.
In 1994, David moved with his family to Philadelphia.
In 1987, David made his directorial debut, directing two episodes of St. Elsewhere.
In 1980, David made his feature film debut in, Inside Moves.
David won a Lucille Lortel Award for Outstanding Actor for his performance in How I Learned to Drive (1996 - 97)
David won an OBIE Award for his performance in How I Learned to Drive (1996 - 97)
David turned down the lead role in the movie, Splash.
David was nominated for Outstanding Performance by a Cast in a Theatrical Motion Picture at the Screen Actors Guild Awards for his role in The Green Mile.
Of all the roles David has played, David is most proud of his performance in Crossing Guard.
Before David began his career as an actor, he drove cabs for a living and also worked in a newspaper pressroom, stacking papers for $3 an hour.
David was listed as one of twelve "Promising New Actors of 1980" in John Willis' Screen World, Vol. 32.
David is 6' 4".
In 2002, David was nominated as Best Supporting Actor in the 2002 Golden Horse Awards for his role in Double Vision. The Golden Horse Awards are the Chinese equivalent of the Oscars for Chinese movies and his nomination was the first time an English-speaking actor had ever been nominated for an award.
In 1997 David had the starring role in the stage production of Paula Vogel's Pulitzer Prize-winning drama, How I Learned to Drive. He won the Drama Logue Award, the Lucille Lortel Award, the Drama Desk Award and the Obie for this role.
In 1978, David began appearing in productions by the Circle Repertory Theatre in New York.
CBS liked David for the lead role in Hack so much that they agreed to have the show filmed in Philadelphia so he could be close to home.
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