I probably write a poem every 50 years.

When I was doing 'Scarface,' I remember being in love at that time. One of the few times in my life. And I was so glad it was at that time. I would come home and she would tell me about her life that day and all her problems and I remember saying to her, look, you really got me through this picture because I would shed everything when I came home.

I learned to wrestle, I learned defensive fighting at a young age, because when someone hit me, I would throw up and fall down.

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.

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.

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.

When you perform with a live audience, the audience comes back to you, so that you and the audience are giving to each other, in a sense. It's an extraordinary thing. It's wild turf up there.