I wouldn't be interested in [nowadays] television simply because I think it goes too fast. Except if something was maybe a play on television or some great television script.

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

Great directors can understand the staging in such a way that can make a scene come alive. Others have a certain way of pacing the scene.

It's never really that much fun for me to do movies anyway, because you - you know, you have to get up very early in the morning and you have to go in and you spend a lot of time waiting around.

A lot of acting is private time.

Whether he's doing great acting or not, you're seeing somebody who is in the tradition of a great actor. What he does with it, that's something else, but he's got it all. The talent, the instrument is there, that's why he has endured.

I like, for instance, 'Serpico.' I enjoyed playing Serpico because Frank Serpico was there. He existed. He was a real life person and I could - I could embody him. I could, you know, I could work and get to know him and have him help me with the text, the script and become him. It's almost like a painter having a model to become.