I think the fact that I was raised in show business, in New York City, in the '50s, that's affected my personality to the point that I'm a little different.

Both my parents had heavy accents, and so did everybody they knew. It's a rhythm thing - people who speak English where they have to hesitate and think of the right word. And I think it rubbed off.

I don't even like holding them. Whenever I hold a gun, I want to get it out of my hand as quick as possible.

Growing up in New York is like living in a horror museum because there are so many strange people walking the streets and riding the subways. You learn to develop a tough front if you live here, just in case you get into any kind of trouble and you need to talk your way out of it.

Can I confess something? I tell you this as an artist, I think you'll understand. Sometimes when I'm driving on the road at night I see two headlights coming toward me. Fast. I have this sudden impulse to turn the wheel quickly, head-on into the oncoming car. I can anticipate the explosion. The sound of shattering glass. The flames rising out of the flowing gasoline.

It's not necessarily how many minutes you're on screen, it's the material you have. It's more important what it is you have to do than the amount of time you're there.

I have made a number of movies that I have never seen. It's not a matter of ego. It's a matter of being disappointed. It's really a shame. It's just as difficult to make a movie that no one cares about as to make a hit.