I've had very deep relationships that lasted for long periods of time with people - you could almost call them marriages, even though I didn't marry. But it was costly.

It would be hard to play a character you don't like - for me anyway - or can't find something in them to like.

There was once a great actor named George C. Scott. He was on stage in the Delacourt Theater in Central Park, where they do Shakespeare every summer, and he was playing Shylock in The Merchant of Venice. At one point he took the robes he was wearing and just started flipping them up in the air, out of nowhere. And later, an actor said to him, "What was that, George, what were you doing?" And he said, "They were sleeping." You're always trying to catch them.

Many years ago, in the late '70s, I toured colleges along the East Coast and I presented a kind of show where I got a lot of books and poetry and pieces of [William] Shakespeare and other writers that I admire, read it to the class and then afterward we would talk and I would answer questions. It was really a way of expressing and finding out about where I was at that particular time, so it was very therapeutic for me.

The reasons you have for doing a movie will vary with the way your life is going. There was a time when a made a some movies because I felt I needed to work. And I didn't think about the material as much. But sometimes I've thought about the material a lot and thought I was doing the right thing, and it didn't work out.

I think what you see [in Salome the play backstage] is an artist having this fit of temperament.

Pretty soon I'll start worrying about [my fame] because [my children] carry my name and they have that exposure. The whole thing is, they never asked for it, that kingdom.