They're only as hard to find as the amount of help you get or don't get from the director. When I worked with Night Shyamalan on Unbreakable and Sixth Sense, I had a great deal of help. He knew what he wanted from the character. In Unbreakable, I showed up and said, "I'll do whatever you want me to do. I'll say whatever you want me to say. I'll play the character however you see it." And that's what's onscreen.
But are you aware of that gravitas contained within those moments? Because going back to that period in the mid-1980s, when did you realize you were good at them — because that's now how people pegged you early on.
I probably realized that just a couple of weeks ago. All these things only make sense in retrospect. It's hard to know what yore feeling or what's right when you're in the actual moment. Being able to look back at 20 years of work in film. I can see where my work was successful and where it was less than successful. I like the small moments in film, the quiet moment, the still moments. A steady diet of that would be just as boring as watching things exploding continually, but a mixture, I think, is an interesting thing to watch, and that's the job — to be entertaining, to tell an interesting story.