I like women who can cook. That's first. Love is very important, but you've got to have a friend first - you want to finally come to a point where you say that the women you're with is also your friend.
It was a compromise. There was a sense that I could write my own memoirs, and Larry [Grobel] would help me down the line, or maybe not, maybe he was too close to me.
When [Julia Marie Pacino] was 5 or 6 years old, we were in an Italian restaurant, and these people came by the table and they would start talking to me, asking me for my autograph and she just went under the table.
Is it possible to do something that that makes an audience uncomfortable, challenges them, makes them see things they're not used to? Here in these films [Salome the play and Salomaybe], I have the opportunity to say something about how I feel about things.
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?