When I read the 'Dick and Jane' stories, I thought they were afraid they might forget each other's names because they always said each other's names -- a lot. So if Jane didn't see the dog, Dick would say, 'Look Jane, look. There is the dog next to Sally, Jane. The dog is also next to mother, Jane. The dog is next to father, Jane.'

When I read the 'Country Strong' script, I thought, 'Can't they just hand-double it? Can't I just do the rest of the movie and not have to do the performing?' It took me six months to learn to sing and play guitar at the same time.

When I read that the British army had landed thirty-two thousand troops -- and I had realized, not very long before, that Philadelphia only had thirty thousand people in it -- it practically lifted me out of my chair.

When I read that Khal Drogo role, I was blown away. I couldn't believe it was happening. I had to have that role.

When I read that I had to go to Gettysburg.

When I read something, first I have an instinctual, emotional response to it. But of course, acting isn't only just feeling an instinct for what's going on in the moment with the character. You have to be able to carve it out and consider, follow, and create the whole journey that the character you play is going through.

When I read something, I picture that scene in that detail. That becomes very similar to composing a photo in real life.

When I read something saying I've not done anything as good as Catch-22 I'm tempted to reply, Who has?

When I read something saying I've not done anything as good as 'Catch-22' I'm tempted to reply, 'Who has?'

When I read scripts and when I read books, it's more of an emotional response and I was really drawn to these characters.

When I read profiles of myself, I sometimes think: 'I have spent my whole life struggling to understand my motivations and impulses, and I've never quite sorted them out.'

When I read period material -- and it ain't on Google -- I am always alert for that one incredible detail. I'll read a whole book and get three words out of it, but they'll be three really good words.

When I read passages like this, I want to look for the nearest wall to bang my head against.

When I read of the vain discussions of the present day about the Virgin Birth and other old dogmas which belong to the past, I feel how great the need is still of a real interest in the religion which builds up character, teaches brotherly love, and opens up to the seeker such a world of usefulness and the beauty of holiness.

When I read obituaries I always note the age of the deceased. Automatically I relate this figure to my own age. Four years to go, I think. Nine more years. Two years and I'm dead. The power of numbers is never more evident than when we use them to speculate on the time of our dying.

When I read it, I don't wince, which is all I ever ask for a book I write.

When I read it Tough Guys Don't Dance, I don't wince, which is all I ever ask for a book I write.

When I read interviews with people like Kevin Barry or Colin Barrett, who I hugely admire, they don't really seem to come up against the question of likeability even though their characters, in some instances, are really horrible.

When I read great literature, great drama, speeches, or sermons, I feel that the human mind has not achieved anything greater than the ability to share feelings and thoughts through language.