At MGM there was a script cage in the basement where they’d show rushes. And I thought to myself, “How do I get into the script cage and find out what my future is?” I climbed into the script cage one night and spent the whole night in there. I saw the bowels of MGM. I saw the studio scripts that the producers had seen; the writers had just handed them in. And I started thinking this is a chance to pick my own roles.

To my mind, there are no unattractive women; only those who haven't been awakened by love . . . A woman is often like a strip of film-obliterated, insignificant-until a man puts the light behind her.

John Milius and Francis Ford Coppola and Oliver Stone - those guys are consummate filmmakers. They believe that you don't talk it, you show it. So when I find a role now, I try to find a visual way to tell what the character is about rather than trying to speak about it.

My mother was a star-struck girl from a little town in Arkansas who had gone to finishing school in New York, and whose mother had given her anything she ever wanted.

I did a movie with Woody Allen [“Hollywood Ending” in 2002]. I only had a few days with Treat on that film. I immediately liked Treat. Treat and I had a sense of humor about the whole thing.

Here's Henry, trying to burst the bubble still further, if indeed it needs more bursting

At MGM there was a script cage in the basement where they’d show rushes. And I thought to myself, “How do I get into the script cage and find out what my future is?” I climbed into the script cage one night and spent the whole night in there. I saw the bowels of MGM. I saw the studio scripts that the producers had seen; the writers had just handed them in. And I started thinking this is a chance to pick my own roles.