I destroy the painting as soon as I can see what it is. When I can make out something in it, I destroy it because it's no longer coming from my unconscious.
I've had very deep relationships that lasted for long periods of time with people - you could almost call them marriages, even though I didn't marry. But it was costly.
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.
The reasons you have for doing a movie will vary with the way your life is going. There was a time when a made a some movies because I felt I needed to work. And I didn't think about the material as much. But sometimes I've thought about the material a lot and thought I was doing the right thing, and it didn't work out.
The truth is, you know, we need our anodynes. You know that word, anodynes? We need that in life some times. A good warm bath can be one for you, or a whatever.
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.
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.
When I was a younger actor, I would try to keep it serious all day. But I have found, later on, that the lighter I am about things when I'm going to do a big scene that's dramatic and takes a lot out of you, the better off I am when I come to it.
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.
I went back to the stage because it was my way of dealing with the success I had, my way of coping. It was a way of escaping the responsibilty of what was happening.
The interesting thing about this is I don't know what my vision [ in Salome the play and Salomaybe] is yet about. I'm sensing something and I'm going along with it. It reminds me of a painting, the way Jackson Pollack painted - Jackson Pollack, the great, great artist.
I like, for instance, 'Serpico.' I enjoyed playing Serpico because Frank Serpico was there. He existed. He was a real life person and I could - I could embody him. I could, you know, I could work and get to know him and have him help me with the text, the script and become him. It's almost like a painter having a model to become.
Being the actors of the craft, the trade, one of the big things you do and you learn is about repeating. There is something to the repeats. I think that is part of what is healthy to young actors. Get out and learn something just through doing that, repeating.
I do believe, and I will always believe, that Shakespeare on film is really something that should be tried more often because it is an opportunity to take the humanity that Shakespeare writes into characters and express it.