Kevin Spacey

But that's where you're looking for laughs and you're specifically in a little scene that's being created. But I think improv has had value, but I have not experienced it as much in doing plays as I have sometimes in doing film where you'll start off rehearsing and a director may say, let's just go off book and see what happens.

And I've had moments in film where someone went off book and it was terrifying. There was a scene I had in Glen Gary Glen Ross where the character I play has fucked something up, has just screwed something up, and Pacino is livid. And so we had this scene where Al is walking like this, and the camera is moving with him, and he is chewing me a new asshole.

And I've had moments in film where someone went off book and it was terrifying. There was a scene I had in Glen Gary Glen Ross where the character I play has fucked something up, has just screwed something up, and Pacino is livid. And so we had this scene where Al is walking like this, and the camera is moving with him, and he is chewing me a new asshole.

And I've had moments in film where someone went off book and it was terrifying. There was a scene I had in Glen Gary Glen Ross where the character I play has fucked something up, has just screwed something up, and Pacino is livid. And so we had this scene where Al is walking like this, and the camera is moving with him, and he is chewing me a new asshole.

And in the middle of the take, Al starts talking about me,

And in the middle of the take, Al starts talking about me,

And in the middle of the take, Al starts talking about me,

And I'm now, I'm literally like, I don't know what the hell is happening, but I'm reacting. We got to the end of that take. Al walked up to me and he went, oh, that was so good.

And I'm now, I'm literally like, I don't know what the hell is happening, but I'm reacting. We got to the end of that take. Al walked up to me and he went, oh, that was so good.

And I'm now, I'm literally like, I don't know what the hell is happening, but I'm reacting. We got to the end of that take. Al walked up to me and he went, oh, that was so good.

Oh, that was so good. You look like a car wreck. And I was like, yeah. And it was actually an incredibly generous thing that he gave me so that I would react. Oh, wow. Did they use that shot? Because you were in shock. It was my closeup. Yeah.

Oh, that was so good. You look like a car wreck. And I was like, yeah. And it was actually an incredibly generous thing that he gave me so that I would react. Oh, wow. Did they use that shot? Because you were in shock. It was my closeup. Yeah.

Oh, that was so good. You look like a car wreck. And I was like, yeah. And it was actually an incredibly generous thing that he gave me so that I would react. Oh, wow. Did they use that shot? Because you were in shock. It was my closeup. Yeah.

Well, he's the reason I got the movie. A lot of people might think because Jack was in the film that he had something to do with it. But actually, I was doing a play called Lost in Yonkers on Broadway. And we had the same dresser who worked with him, a girl named Laura. It was wonderful. Laura Beattie. And she told Al that he should come and see this play because she wanted to see me in this play.

Well, he's the reason I got the movie. A lot of people might think because Jack was in the film that he had something to do with it. But actually, I was doing a play called Lost in Yonkers on Broadway. And we had the same dresser who worked with him, a girl named Laura. It was wonderful. Laura Beattie. And she told Al that he should come and see this play because she wanted to see me in this play.

Well, he's the reason I got the movie. A lot of people might think because Jack was in the film that he had something to do with it. But actually, I was doing a play called Lost in Yonkers on Broadway. And we had the same dresser who worked with him, a girl named Laura. It was wonderful. Laura Beattie. And she told Al that he should come and see this play because she wanted to see me in this play.

I was playing this gangster. It was a fun, fun, fun part. So I didn't know Pacino came on some night and saw this play. And then like three days later, I got a call to come in and audition for this Glen Ross, which of course I knew is a play, David Mamet's play. And then I auditioned. Jamie Foley was the director who would eventually direct a bunch of House of Cards. Wonderful, wonderful guy.

I was playing this gangster. It was a fun, fun, fun part. So I didn't know Pacino came on some night and saw this play. And then like three days later, I got a call to come in and audition for this Glen Ross, which of course I knew is a play, David Mamet's play. And then I auditioned. Jamie Foley was the director who would eventually direct a bunch of House of Cards. Wonderful, wonderful guy.

I was playing this gangster. It was a fun, fun, fun part. So I didn't know Pacino came on some night and saw this play. And then like three days later, I got a call to come in and audition for this Glen Ross, which of course I knew is a play, David Mamet's play. And then I auditioned. Jamie Foley was the director who would eventually direct a bunch of House of Cards. Wonderful, wonderful guy.

And I got the part. Well, I didn't quite get the part. They were going to bring together the actors that they thought they were going to give the parts to on a Saturday at Al's office. And they asked me if I would come and do a read-through. And I said, who's going to be there? And they said, well, so-and-so and so-and-so and so-and-so. And then Jack Lemmon is flying in.