Around mid-life everyone goes maniac a little bit.
Debra Winger doesn't let anything interfere with her performance, which is the way it should be.
Even if you're tired, it's a joy being with children. You have to give all the time, but you can't complain. It has its rewards.
Even my agents say, We don't know what this business is anymore.
Every other movie is one of those action things. I mean, Lost in Space? A bunch of good actors running around shooting at special effects on a soundstage? I took my kids to see that and felt like I was on an acid trip.
I came in on the tail end of the old school of Hollywood.
I didn't know how to go about preparing for the part of someone who can't remember who he is. The frustration angle is written in, but there's also this incredible passive state.
I don't care about being a star. I can do a supporting role; I don't have to be a lead.
I don't think a director should have any kids. I don't even think it's good for your physical health. Even guys in their 30s look exhausted because directors never get enough sleep. What I do is stressful enough.
I feel more comfortable doing films with groups of guys. It's a lot easier for me. There's a difference with women: you can't take them to dinner every night and go crazy.
I got to talking to an old actor, and he had a bunch of stories about the Rough Riders.
I guess if I weren't an actor, I'd be a history professor.
I had already done a lot of research for Rough Riders, keeping notebooks and old photographs. Some of the books were antiques for that time period, with the covers falling off.
I have family obligations and all that stuff. I get my kids six weeks in the summer, which is a real intense period of time. I'm with them every minute of the day.
I like playing flawed characters, people who aren't perfect.
I remember seeing Bill Hurt in New York once. I talked to him on the phone around 1988 and that's about it. I was shooting in New York and somebody said Glenn Close came by the set.
I tried out for a play and got the part and got into it. I was 19 or 20. At the time I thought I would be a journalist.
I was kind of confused. I thought, Well, if I get drafted, I'll go. Everybody was very concerned with it. I had friends who went. Some that came back and some that didn't.
I was so exhausted after fighting for the project for five years, shooting it was like the Bataan Death March.
I wrote a script. I actually enjoyed writing it more than acting. It's about the Irish rebellion of 1920, which is a fascinating period and place for me.
I'm probably satisfied with my career 80 percent of the time.
I've done about six comedies. Oddly enough, the script came to me from one of the guys in Platoon.
In this industry, the new owners prefer to kill anything they weren't responsible for.
It was TNT's biggest hit. It did better than Gettysburg, which surprised me a little bit. I guess it was the biggest hit in cable TV historically.
LA is a toilet. That dog and pony show.
Most of what gets made now, you laugh your way through, go home and forget you've seen it.
My dad was a traveling salesman, but he was always home on weekends, so at least there was a kind of routine to it.
My mother, sister and I watched through the windows as my father gambled.
Rough Riders took 13 weeks to shoot, plus a week of training. The same guy trained us trained the cast in Platoon. Except, instead of radios, we used bugles to signal.
Sometimes I think I'm real predictable to myself and other times... you always wonder, Is this really what I wanted to do? Did I make a mistake? Should I be doing something else?
Take characters that Nicholson or De Niro play: they're not always tough.
Teddy was such a media hound. I was able to study a number of newsreels of him. He had lots of energy despite only sleeping four or five hours and reading several books a night. Had a high I.Q. and photographic memory, spoke several languages.
The Big Chill is one of those things that everybody can identify with. Between eight characters, they can pick somebody who's somewhat like them.
There's a hysterical, tired sense of humor that comes after working 14 hours a day, six days a week. I like those things because they take the pressure off the constant stress.
These days, you can do a TV series for five years and all of a sudden be on top of the business. Features don't even run in theaters very long anymore before going right to television.
This is all new to me, these re-releases. I don't know how these things do. I don't know if it will be people who saw it originally or young people.
To people outside, they think, Gee, that's great. You get to go here and there. The other side of that is our expression, This is location, not vacation.
We had training camp for a week, and we used the actual military drills of that period. We didn't have to work out much after hours, because going up and down hills all day was a good workout in itself.
While I was doing these plays in the beginning, I wasn't getting paid. I thought of it more as a hobby. Then I realized how seriously a lot of these people took what they were doing.
You can't think that you're playing a villain, or you'll end up with a cartoon. You have to think about him as a person and a hero.
You realize just how long you've been away when you get home and start dialing 8 out of habit so you can get access to local calls.
Tom also speaks fluent Italian.
Tom currently lives in South Carolina.
Tom used to be a flight steward for Eastern Airlines shortly after graduating from the University of Missouri.
It's not widely known, that the Vatican requested a private viewing of Tom's film One Man's Hero. They were so impressed with the film, they reportedly financed the cost of the Los Angeles premiere when studio MGM held back.
Tom starred in and worked as the Producer for the television film The Avenging Angel (1995).
Besides appearing in the miniseries, Tom also worked as the Producer on Rough Riders (1997).
In 2004, Tom won the Bronze Wrangler Award for Outstanding Factual or Fictional Drama for the mini-series Peacemakers (2003).
In 1998, Tom won the Lone Star Film & Television Award for Best TV Actor for his appearance in Rough Riders (1997).
In 2000, Tom received the Golden Boot Award for his work in film.
In 1987, Tom was nominated for an Oscar for Best Actor in a Supporting Role for his appearance in Platoon (1986).
Tom appeared in a TV commercial for Quaker State in 1999.
Tom's family lived in Chicago when the first controlled atomic reaction was produced, along with Harrison Ford Michael Mann and Chase Hoyt.
Tom was listed as a "Promising New Actor of 1977" in vol. 29 of John Willis' Screen World.
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