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.

You don't get to know anybody in a movie until after it's over. You work less together in a film than you do onstage.

We're charlatans in a way, we're magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style, I did it in Looking for Richard, too. And I figure, if I can weave it into the actual play and get the audience interested, like the robes going up and down, they'll pay attention long enough to consume it.

I haven't encouraged [Julia Marie Pacino] or discouraged her. I let her go her own way. I did say to her that I thought that she had a real gift, and it's a good idea to know that. It's always good to go with your gift.

I don't talk politics and I don't talk philosophy or anything like that, but if you look at my work, you might get an expression of me as a person.

[Salomaybe] is my presentation, my vision of the world. Not so much to satisfy the audience at large.

Acting is hard work. At times, it's very energizing and enervating. It's childish. It's also responsible. It's illuminating, enriching, joyful, drab. It's bizarre, diabolical. It's exciting.