F. Murray Abraham

One of the great values of the theater is a communal search for truth; I believe that sincerely.

Milos said, You're my first choice. From my point of view, that doesn't pay the rent. I said, Tell me what I have to do next because I'm busy painting my kitchen.

Suddenly I was the man who got the part that every actor in the English language was trying to get. I was really scared. I had talked the talk, and now I had to walk the walk. For three days, I couldn't answer the phone.

As much preparation as I had made for the old man Salieri, gestures and so on, the fact is after sitting for hours, your movements are kind of slow.

Once I looked into a mirror at my face I felt like it was completely convincing. I was Salieri.

I'm a very proud actor.

With Dick Smith there, and the words of Peter Shaffer... they've got to be the most beautiful descriptions in music ever written on film or in literature. And we could hear the music accompanying the words... What more can you ask for?

I love parties. I love a good time.

I worked with Harold Pinter once as my first Broadway show. It was one of the most exciting things that ever happened to me.

I'm the spokesperson for the Multifaith Alliance for Syrian Refugees. My father was from Syria. It's an American initiative, and it's multi-faith. So, it's maybe 60-65 different organisations, Jews, Christians, Hindus... Anyway, it's very important and serious.

I always play these bad guys, and I'm really a nice guy.

I'm first-generation American - my people came over on boats - and I think it's a shame to close the door on people who really need freedom.

I acted my heart out.

I cannot imagine not working. I don't understand the word 'retirement.'

No matter all of your credits and accomplishments - you can be forgotten in a trice. The idea that you have to go back and start again after considerable success can destroy you if you're not strong. I never lost track of who I am and what I can do, because I continually find things to do, but not everyone has that resource.

I'm not afraid to go anywhere, to the smallest theatre or the least amount of money.

There are real tricks to getting a job that I just don't like or understand - it feels too close to pandering. I've tried it, but it doesn't work.

It sounds funny, but I felt that my responsibility as an American actor was to let the British know we can act as well as they can.

The only reason I signed on for a speech and drama course was because I thought it would be easy, but as soon as I stepped on the stage, I thought, 'This is exactly where I belong.'

After I finished school, I headed for Los Angeles, thinking, 'Movies. Beaches.' But I wanted to do serious stage work, so I upped sticks and moved to New York to study. I did the usual day jobs to support myself - waiting on tables, washing dishes, parking cars, anything to pay the rent. I was a terrible waiter, by the way.

I'm a comedian at heart, and I really can make people laugh, but ever since 'Amadeus,' all I seem to do is play dramatic roles and villains.

My family is blue-collar - coal miners and steelworkers. My father was an automobile mechanic, and us boys were brought up to work. I used to pump gasoline at 11 cents a gallon. I thought I would like to be a first-rate mechanic; a respected, hard-working man.

Marlon Brando was the major influence in my life, though I never met him. And my father - we didn't get along, but he was an influence in terms of honesty and work ethic. That's the greatest compliment I could pay him.

I like to teach. And when I spot talent without ambition, it makes me angry. I give students short shrift if they're not willing to do the work. Relying on talent is not enough.

I have two brothers buried in the military cemetery in Texas. I don't want to see any more of that.