When my mother got home from work, she would take me to the movies. It was her way of getting out, and she would take me with her. I'd go home and act all the parts. It had a tremendous influence on my becoming an actor.

Shakespeare's plays are more violent than 'Scarface.'

When you do these things, you sort of take the journey. The journey is all about how I can interweave the Oscar Wilde story, the story of Salome, the play itself and what it is, what it contains, and my journey as an actor, as a director, as a filmmaker, as a person struggling with whatever I'm struggling with - my own celebrity, my own life. This is semi-autobiographical in terms of my commitment to this kind of thing.

The problem with me is, I guess, the way I express myself, you have to be with me 50 years before you can get a sense of what I'm talking about.

After looking at Salomaybe, I don't know who the hell the real me is. I think it's closest now to the real me because for one thing, I'm used to this.

The physical stamina [in Revolution]. I was just shocked by it. I didn't think I had it in me ever, and I wasn't terribly young when I did it. I was in my early forties. That was the first thing I was struck by, not by the acting, not by anything else, but by the physicality.

They say we die twice - once when the last breath leaves our body and once when the last person we know says our name.