Failure's relative. I've always felt, even early on, if I lose the freedom to fail, something's not right about that. It's how you treat failure, too. There's something to learn from it. I've had movies that have failed colossally, so you kind of analyze your failures: What kind of failure was it? A failure because it's misunderstood by others? A failure because you misunderstood it yourself?

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

It surprised me, the feeling I got when I won the Oscar for 'Scent of a Woman.' It was a new feeling. I'd never felt it. I don't see my Oscar much now. But when I first got it, there was a feeling for weeks afterward that I guess is akin to winning a gold medal in the Olympics.

I love work because it keeps sex in perspective. Otherwise, it can become a preoccupation.

Actually, the person I related to was James Dean. I grew up with the Dean thing. Rebel Without A Cause had a very powerful effect on me.

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.

I don't like a lot of things like [Iraq], I never did. Being in a position of celebrity and having your words carry such unnatural weight...I've always been a bit squeamish when it came to that kind of thing.