I was playing a part of someone dealing dope on a street corner - and there was a guy actually dealing heroin right there. I looked at him, he looked at me, and I got real confused.
Any project that I find encouraging that isn't attached to a studio, I can go to them, which I definitely would. You have to take an interest in what you do.
Many years ago, in the late '70s, I toured colleges along the East Coast and I presented a kind of show where I got a lot of books and poetry and pieces of [William] Shakespeare and other writers that I admire, read it to the class and then afterward we would talk and I would answer questions. It was really a way of expressing and finding out about where I was at that particular time, so it was very therapeutic for me.
I haven't encouraged [Julia Marie Pacino] or discouraged her. I let her go her own way. I did say to her that I thought that she had a real gift, and it's a good idea to know that. It's always good to go with your gift.
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.
Failure's relative. I've always felt, even early on, if I lose the freedom to fail, something's not right about that. It's how you treat failure, too. There's something to learn from it. I've had movies that have failed colossally, so you kind of analyze your failures: What kind of failure was it? A failure because it's misunderstood by others? A failure because you misunderstood it yourself?
It was a compromise. There was a sense that I could write my own memoirs, and Larry [Grobel] would help me down the line, or maybe not, maybe he was too close to me.
Forget the career, do the work. If you feel what you are doing is on line and you're going someplace and you have a vision and you stay with it, eventually things will happen.
My weaknesses... I wish I could come up with something. I'd probably have the same pause if you asked me what my strengths are. Maybe they're the same thing.
My movies are always being played on television, I'm very well known and all that stuff - I go all over the world, I have access to many things, many people, many places and it's wonderful. But now I'm at a point where...I thought it was time to show some of it, to show some of my feelings about things and what I preferred at the time. I prefer them still but not to the extent I did at the time.
I have a life and do a lot of things, and so far my work has been my life. If I was a painter no one would question me about my age. I'm an artist, I hate saying that.
I don't think actors should ever expect to get a role, because the disappointment is too great. You've got to think of things as an opportunity. An audition's an opportunity to have an audience.
[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.