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.

It turned out that time doesn't heal the wound , but in its so merciful way , blunts the edges ever so slightly

I probably write a poem every 50 years.

I'm naturally shy but I've done this [movie Salomaybe] so much and you get better at it than you would think.

I'm much more a European Italian than I am an American Italian, and I've always felt that that style of acting comedy is in me. I put comedy as much as I can into all my movies, if I can help it.

I understand the directors much more. I was always rebelling against them when I was a youngster, I didn't want to be told what to do. I had no identification.

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.