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’ve always been in the theater. I’ve always gone to it. That’s been my way to cope. Early on in my career, I remember running - fleeing - to the theater as a way of coping with all the meshugaas that was going on for me.
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 found that speaking live to people, young people, about what I liked and what had been happening to me was very good for me. I was quite overtaken by success and fame. I was one of those types who responded to it in a negative way. It was not easy.
The play is the source, it is orchestrated with words. In a movie, you are not dealing with as much as that. There are machines and wires. When you're acting for a camera, it keeps taking and never giving back.
"To be or not to be is" [by William Shakespeare] beyond anything I can comprehend. I understand it on a superficial level, but the depth of it just boggles my mind. I think it's probably the greatest of all speeches ever written.
I always had this thing, when I was younger especially, I didn't want to do movies that much. I found they took a lot out of you and they were exhausting for me in a lot of ways.
When you perform with a live audience, the audience comes back to you, so that you and the audience are giving to each other, in a sense. It's an extraordinary thing. It's wild turf up there.
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?
There are people whose sense of reality is very strong, who have a sense of honesty. Lee Strasberg is like that, my grandfather was like that. These are the kinds of men I've had close relationships with.