We're charlatans in a way, we're magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style, I did it in Looking for Richard, too. And I figure, if I can weave it into the actual play and get the audience interested, like the robes going up and down, they'll pay attention long enough to consume it.
Jamie Foxx does a good rendition of me. It's a real gift, mimicry of that kind, the tonal thing. It's sort of like having a talent for playing an instrument.
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.
That's where humour lives for me. In the body. The Steve Martin kind of stuff or Jim Carrey, that's what I like. I've always felt that's what I would like to do.
You need some insecurity if you're an actor. It keeps the pot boiling. I haven't yet started to think about retiring. I was shocked when I heard about Paul Newman retiring at age 82. Most actors just fade away like old soldiers.
I don't regret anything. I feel like I've made what I would call mistakes. I picked the wrong movie, or I didn't pursue a character, but everything you do is part of you and you get something from it.
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 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 would say I am more concerned with the plays I'm going to do than the movies. I'm more comfortable in a play. In film, there's always a certain sense of control, of holding back. The stage is different ; there's more to act. There are more demands put on you, more experiences to go through.