Quotes from Liev Schreiber

I'm not that interested in working with impervious people.

I think New York will always be this incredible international crossroads, and I don't think that will ever change.

If you fall in love with somebody you're working with, fine, but wait till your project is over.

I love having that creative discussion where, at the end of the day, you both feel better for having done it. Maybe it's a typically Jewish thing, where you sort of go at each other.

My publicist told me not to talk about politics but, yes, I think we have a president who stole the election.

Everyone assumes that novelists are smarter and more interesting. They're generally smarter and more interesting, but they're often very short. So it kind of cancels all the smart and interesting stuff out.

My style was always intuitive. I never used to believe in working on your body. Anything that smacked of vanity to me was bad for your acting, but I learned that wasn't true.

It's finding time for each other. That's the trick to any relationship, you know. Finding time to really be present for each other.

I've got nothing against L.A. I think it is a really beautiful place. To be able to surf and get out in the Pacific Ocean every once in a while. The hiking, all of that is amazing. I love it there.

Theater is consistent. You ride your bike to work. You get most of the day off so you can see your kids. My problem is that after three months, I go mad. One of the reasons I never thought I could do a TV show is that I hate doing the same thing over and over again.

As soon as you know what you're doing, you're doing it wrong.

I did some research into what was going on in terms of the sexual revolution that was happening in the '60s in the gay community and particularly in the drag world. Before the '60s, guys doing drag would dress like their mothers or iconic Hollywood actresses.

I was always curious about motivation and intention, and really, that's a lot of what acting is.

I was always curious about motivation and intention, and really, that's a lot of what acting is. I was a little bit different.

The skill set for hockey is so specific to skating and if you haven't been skating as a kid it's impossible to play - and I wasn't a skater.

I really never thought I was that good at film. And honestly still don't. My strength is language. My background is monologues and a certain kind of Brechtian spin on theater.

I struggle with the idea of comparing people's work and art. The notion of giving awards or putting a competitive spin on something that is a relative art form is sort of odd to me.

I live with an 18-month-old Jack Russell named Chicken. He moved in about 15 months ago, and it was very hard at first because I work a lot and he doesn't.

The guy who kind of broke the story in 'Spotlight' was a priest, the guy who had sort of done all the research. One of the things he said when one of the 'Spotlight' reporters asked him how he could still remain a Catholic, he said that, 'My faith is in the eternal, and the church is an organization.'

I get very nervous around famous people and I get nervous around beautiful women.

I'm kind of an obsessive-compulsive person, like, neat obsessive.

I remember finding 'Harold and Maude' strangely erotic. I've always had an octogenarian fetish.

When my grandpa was moved to physical action, you felt utter terror.

You hear different things from different people, and they're all valid: they're all valuable. I think that's what comprises a performance is all those ideas.