It's so funny when people who are not used to making movies get into it. You just can't believe how insufferably boring it is. Waiting around and doing these lines over and over and finally having to go in and loop the lines and dub them.

Is it possible to do something that that makes an audience uncomfortable, challenges them, makes them see things they're not used to? Here in these films [Salome the play and Salomaybe], I have the opportunity to say something about how I feel about things.

I was watching Revolution, and the things I did in that picture, holy smokes! I can't believe I did that, it's like another person. It's the thought of it, it's just appalling to me.

My grandfather was a provider. Work, any kind of work, was the joy of his life. So I grew up having a certain relationship to work. It was something that I always wanted.

Women have always had equal importance onstage, and working with them must have altered my sensibilities. I've never felt sensitive to the whole issue, because being macho has never been a problem with me.

Many years ago, in the late '70s, I toured colleges along the East Coast and I presented a kind of show where I got a lot of books and poetry and pieces of [William] Shakespeare and other writers that I admire, read it to the class and then afterward we would talk and I would answer questions. It was really a way of expressing and finding out about where I was at that particular time, so it was very therapeutic for me.

Our ability to manufacture fraud now exceeds our ability to detect it.