Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions. And then you go back like a few days later and then you listen to the movie. And it sort of plays in your mind like a film, like a first rough cut of a movie.

I destroy the painting as soon as I can see what it is. When I can make out something in it, I destroy it because it's no longer coming from my unconscious.

I've often said there's two kinds of actors. There's a more gregarious type and the shy type.

I personally think if you're given four months instead of four weeks on a play, with the people who want to work that way, the play will invariably be different and stronger, and much more fulfilling and richer on all counts. There's no doubt in my mind about it.

The thing that can get you a little upset is when people say other people are better than you. That can bug you.

On any given Sunday you're gonna win or you're gonna lose. The point is -- can you win or lose like a man?

The play is the source, it is orchestrated with words. In a movie, you are not dealing with as much as that. There are machines and wires. When you're acting for a camera, it keeps taking and never giving back.