Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions. And then you go back like a few days later and then you listen to the movie. And it sort of plays in your mind like a film, like a first rough cut of a movie.
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.
When I was younger, there was the sex thing. That's par for the course.When you're a movie star, it went with it. It's a kind of rite of passage, socially.
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.
I do believe, and I will always believe, that Shakespeare on film is really something that should be tried more often because it is an opportunity to take the humanity that Shakespeare writes into characters and express it.
The truth is, you know, we need our anodynes. You know that word, anodynes? We need that in life some times. A good warm bath can be one for you, or a whatever.
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.
Being the actors of the craft, the trade, one of the big things you do and you learn is about repeating. There is something to the repeats. I think that is part of what is healthy to young actors. Get out and learn something just through doing that, repeating.
Shakespeare is one of the reasons I've stayed an actor. Sometimes I spend full days doing Shakespeare by myself, just for the joy of reading it, saying those words... I do Shakespeare when I am feeling a certain way.
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.
Acting is hard work. At times, it's very energizing and enervating. It's childish. It's also responsible. It's illuminating, enriching, joyful, drab. It's bizarre, diabolical. It's exciting.
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.