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.
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?
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.
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 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.
I' ve won awards. And they didn't make me feel bad winning them. They made me feel pretty good. But it also did not make me feel bad NOT winning the Academy Award.
I personally think if you're given four months instead of four weeks on a play, with the people who want to work that way, the play will invariably be different and stronger, and much more fulfilling and richer on all counts. There's no doubt in my mind about it.
I didn't want the book [of memoirs] out, naturally - Larry [Grobel] knew that for 20 years, 15 at least, I didn't want anything written about me. Then, you know, things happen, finally it's OK and I trust Larry. Nothing about it is salacious in any way.