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

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

After looking at Salomaybe, I don't know who the hell the real me is. I think it's closest now to the real me because for one thing, I'm used to this.

[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.

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.

Shakespeare's plays are more violent than 'Scarface.'

I'm not a violent person, never was, but I have this temperament that I've always displayed. I guess it has to do with my tradition and being Italian, we're very outgoing with our emotions.