When I was a kid, we'd go to the movies, and my parents would reach out to everyone around us in the theater, most of whom could barely afford the movie ticket. They'd hand out popcorn and Milk Duds, strike up conversations with them, lend shoulders to cry on, learn their names, and smile at everyone.

I was in the middle of filming Season 3 of 'Grace and Frankie.' Then the writing process for 'Mystery Science Theater 3000' was happening at the exact same time. And then the pre-production for 'Fatherless' was happening at the exact same time as well.

I'm a person who likes these sort of movies... sad but moving 'art movies' that normally are at a festival and then they go to a small art house theater and disappear.

With female-oriented movies, unless it's something like 'Bridesmaids' or a romantic comedy, you've got to really worry about your opening weekend. And I'm always telling stories about women, not younger women, and it's just a much tougher audience to get to the movie theater.

I've seen plays that are, objectively, total messes that move me in ways that their tidier brethren do not. That's the romantic mystery of great theater. Translating this ineffability into printable prose is a challenge that can never be fully met.

I'm the first one who sees every romantic comedy in theaters.

Back in the mid '90s, I went to a film festival, and they were airing 'Central Park West' at the same time as this cute little romantic comedy movie called 'French Exit,' and I got to go from one theater where I was goofy, falling over myself, to this kind of evil vixen kind of character.

Theater is far superior to film in poetry, in abstract poetry.

Theater and poetry were what helped people stay alive and want to go on living.

I have more pet peeves than anybody: people talking in the movie theater, people eating in the movie theater loudly, people being rude, people making noise when you're supposed to be asleep, like drilling noises outside. I could be here all day.

I think my best teacher and my best study was theater in general. It taught me a lot of patience and a lot of hard work, and I think that theater teaches you that you've got to know your stuff because you only get one chance.

With the Neal Morse Band, we're doing progressive music with a harder edge; it's a little more in Dream Theater territory for me. Flying Colors is a little more poppy, it's more Radiohead, Muse, and Coldplay territory, so I approach that drumming in a different way.

I'm not into music - the only music I like is musical theater, but I have every Ween album.

I was the music director at a dinner theater called the 'Pheasant Run Theater' in the suburbs of Chicago, and that was my side gig while I acted.

When I was a teenager, I began to settle into school because I'd discovered the extracurricular activities that interested me: music and theater.

I love the theater as much as music, and the whole idea of getting across to an audience and making them laugh, making them cry - just making them feel - is paramount to me.

In the theater, it's about taking time in a musical segment, a pause in a musical way and then moving on.

If you want to be an actor and you love acting, you can do it whether you're doing something else or not. You can be connected with community theater or make your own little movies. But if you want to be a movie star, you've got a tough road ahead of you.

There are millions of Americans who belong by nature in movie theaters as they belong at political rallies or in fortuneteller parlors and on the shoot-the-chutes. To these millions, the movies are a sort of boon - a gaudier version of religion.

I work constantly but I work at a lot of different things. You know, I run a theater company in New York, I direct plays, act in plays, in movies, so I try to keep it eclectic.

Some of the roles that are challenging are more in theater and TV. In movies, there's a tendency to cast actors in roles that have been successful for them. It has to pay for itself.

There have been several television movies, 'Carrie 2,' two musicals! I remember thinking, the first time there was a musical on Broadway, 'Oh my gosh! The people who ordinarily go to the theaters, that's not really the audience.'

Movies aren't normally, necessarily viewed by a community of fans, and we thought if we could take the energy we see at our live performance and inject that into theaters, it might be a special thing.

We don't make movies for critics. I've done four movies; there's millions upon millions upon millions of people who've paid to see them. Somebody likes them. My greatest joy is to sit anonymously in a dark theater and watch it with an audience, a paying audience.