[Oscar Wilde's Salome screenplay] is not autobiographical in a sense where you go to my house and see my kids and stuff like that, but that's why I guess it's semi-autobiographical.

Freedom, baby, is never having to say youre sorry.

I was never very happy with performing; it didn't turn me on much.

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.

I went back to the stage because it was my way of dealing with the success I had, my way of coping. It was a way of escaping the responsibilty of what was happening.

You sharpen the human appetite to the point where it can split atoms with its desire; you build egos the size of cathedrals; fiber-optically connect the world to every eager impulse; grease even the dullest dreams with these dollar-green, gold-plated fantasies, until every human becomes an aspiring emperor, becomes his own God... and where can you go from there?

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.