I'm just attracted to good material and great characters and that can come in any form, whether it's television or film or a theatre piece.
First of all, Craig Lucas' work, any of it, for any actor, is such good material. It's so alive in such a poetic, yet human way. It's theatrical, but it lets you emotionally connect with the characters.
You can't be funny if you don't have good material.
I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.
I think the future belongs to the comedic polymath. It belongs to the person who can generate the most good material in the biggest variety of ways, whether it's sketches or stand-up or songs or tweets or television or films.
I just want to do good material. If I'm right for it, and it connects with me, and the material is good, I'm not going to say 'I'm just going to do this' or 'I have to do one of everything.' I'm not thinking like that.
I like going after good material, well-written material.
I get very picky. There's sort of a line you have to walk between working and doing something you actually want to be a part of, as opposed to just working for the work. That often puts you in a place where you have to choose whether or not you want to wait for good material to come along.
If you write really good material, the rest just falls into place. There's really no trick to it.
Defeat furnishes good material to the poets and the artists, but none of us care to have the glory of the conquered apply to us.
