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.
The thing is doing it, that's what it's all about. Not in the results of it. After all what is a risk? It's a risk not to take risks. Otherwise, you can go stale and repeat yourself. I don't feel like a person who takes risks. Yet there's something within me that must provoke controversy because I find it wherever I go. Anybody who cares about what he does takes risks.
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.
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.
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.
There was once a great actor named George C. Scott. He was on stage in the Delacourt Theater in Central Park, where they do Shakespeare every summer, and he was playing Shylock in The Merchant of Venice. At one point he took the robes he was wearing and just started flipping them up in the air, out of nowhere. And later, an actor said to him, "What was that, George, what were you doing?" And he said, "They were sleeping." You're always trying to catch them.