I use cinematic things in a theatrical way on stage, and in film I use theatrical techniques in a cinematic way.

I saw bubbling lava, and at the same moment I saw a reflection of a certain kind of inner turmoil. Because at the moment I looked into that crater, I slipped, and a large piece of volcanic rock took a hole out of my leg. The scar is still there 20, 30 years later. But it's one of those things that reminds you of the kind of risk or the kind of moment in order to push yourself.

I've had male executives say that my lead character was unlikable because she slept with a lot of guys.

My God, it transformed me. My life changed.

But I don't think there has ever been anything written on the nature of violent man as deep and as thorough as Shakespeare's Titus. I think it puts all modern movies and modern exploitations of violence to shame.

Theater is far superior to film in poetry, in abstract poetry.

One of the reasons why I love to do Shakespeare is that this great artist was able to talk to a wide variety of audiences. He could do the bawdy plays and the humor and the clowns-as you know, because you're a wonderful Stephano-that speaks to the populace, the masses, the groundlings, whatever.