James Lipton quotes:

I think that anybody's craft is fascinating. A taxi driver talking about taxi driving is going to be very, very interesting.

I did get Tom Hanks to say, Life is just a box of chocolates.

The foundation for film acting is stage acting.

Because - Bobby Lewis said this once to us in class, the better you get, the less credit you'll get. Because the better you are, the more it looks like walking and talking and everybody thinks they can walk and talk.

I was originally going to be a lawyer, and the only thing I remember from the art of cross-examination is - you can see this one coming up Sixth Avenue - never ask a question the answer to which you do not know.

Comedians don't laugh. They're too busy analyzing why it's funny or not.

Life is just a Box of Chocolates.

Geniuses always think it's easier than we make it out to be.

I had something called the back of the chair test. Where I sit, we don't sit like you and I do. I can see a sliver right behind them and they come out and they sit like this like god students and they don't touch the back of the chair.

If heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

Hackman is able to live in the moment which means there is nothing for him at that split second than what is occurring in the scene.

There's only one man I've called a coward, and that's Brian Doyle-Murray.

I became an actor by accident, not by design.

The definition of genius, really, should be that that person can do what the rest of us have to learn how to do.

The difference - the fundamental difference between theater acting and film acting is that film acting is disjunctive.

I thought we would have at most an audience of 5,000 devotees because I made the decision to stick to craft, not to gossip, not to be interested in any of the juicy stuff that they talk about on other shows, but stick to the question of craft.

I must confess that when I'm alone in my study, here in New York, writing; that's when I'm happy.

I would say that writing, both the act of writing, and of course reading of other people's work is, for me, supreme joy.

Olivier was another case of a genius, who couldn't understand why anybody would have any trouble doing this, because for him it came so easily.

The Pivot Questionnaire that I ask other people, when I have on rare occasion answered it, the answer to the question, "What turns you on?" Is words. Not mine, other people's. Words, words, words, that's what turns me on.

I love writing. I like reading, other people, not myself.

If I were to ask you for example right now to go back with me and define those moments in your life that shaped you as a person and you began to reexamine them, something would happen.

I wanted when we began this to have a conversation, the kind that you're able to have, and the only way I knew how to do it was not to have a pre-interview.

I was dealing with craft, and that's the surprising thing, the number of people who have literally broken down on our stage, because when you're talking about the thing that is most important to someone, they're liable to feel something strong.

I criticize those critics. The reason being that they're doing one of the worst things that ever can be done to an actor, which is to say, Look, you do what we like you to do or else.

The studio is meant to be always a place where, first of all, they can be out of spotlight, and second, where they could work with a peer group on parts that they might not have played otherwise.

When you're talking about the thing that is most important to someone, they're liable to feel something strong.

They change. They're different. There are no two alike, that's the miracle of it. But if they have something to teach the students. You can see them writing during the show.

Always accepting the greatest joy of all is the time that I get to spend with my wife.

Our language, one of our most precious natural resources, deserves at least as much protection as our woodlands, streams and whooping cranes.

A good day's writing, when I turn off my computer after I know that I've written okay, or as well as I can write, that's a day well spent.

There are still actors who use emotional memory, affective memory, which was Lee Strasberg's emphasis, not his total emphasis. She taught everything at the Actor's Studio. But nevertheless, she felt that it impeded her.

I stopped writing at the age of 18. I had written incessantly before that. I read, of course, because I was in university, but I wasn't going to write. I wasn't going to do any of those dangerous things. I was going to be a stolid, bourgeois lawyer.

I became a professional actor in Detroit and I was able to earn some money. It was a good job because it permitted me to study. It fit perfectly with school.

When I went to school, my intention was to be a lawyer. When I attended university that was still the clear intention; I was going to be a lawyer. Why? Because it was as far as I could get from my father's antics and world. I thought that the world of the arts probably led people into the kind of behavior I had seen with him and that had resulted in a lot of hard times for my mother and me.

I may be writing well, I may be writing poorly, but I enjoy the act of writing and sometimes when it turns out okay, I feel an elation that is incomparable.

I jumped horses over big dangerous fences in competition. And got very, very good at it, at quite a high level. And I realized long since that, yeah, it's the same thing that appeals to me about it. You can't think about anything else, in either case; jumping horses in competition, show jumping, or flying an airplane, for whatever purpose.

Landing the airplane I think is the most difficult thing that I've every learned to do in my life.

I work seven days a week and I work about 12 hours a day, from the beginning of September to about the end of May; the school year. I take two days off, Christmas and New Year's, Thanksgiving sometimes - two and a half. And the result is that I bonded myself to my desk.

I'd been on everybody else's show and there was always a preinterview. Somebody would come with a tape recorder and you'd talk for three or four hours, and they'd take it back and it would be transcribed, and it would be given to the writers, those many writers you see on all those shows, Larry King, Letterman, Leno, etc. And then they choose the answers that will be most evocative on their show.

I'd been on all the television programs as an actor, as a writer, as a director, as a producer.

I'll miss it until the day I die, and I'm convinced to this day that I can get on a horse and jump a course of fences satisfactorily. It doesn't leave you.