[Oscar Wilde's Salome screenplay] is not autobiographical in a sense where you go to my house and see my kids and stuff like that, but that's why I guess it's semi-autobiographical.
I went back to the stage because it was my way of dealing with the success I had, my way of coping. It was a way of escaping the responsibilty of what was happening.
Pretty soon I'll start worrying about [my fame] because [my children] carry my name and they have that exposure. The whole thing is, they never asked for it, that kingdom.
I can see [ talent or curiosity for acting] in my oldest daughter [Julia Marie Pacino]. I don't know how long she'll run away from it, but it's there in her.
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.
If I find something and feel as though I can contribute to [it] in a way and feel I'm in it, whatever that means, I'm expressing something that I feel is a way to exercise my talent and help communicate a role as a human being in a movie, I will do that.
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.
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.
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.