[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.
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.
Forget the career, do the work. If you feel what you are doing is on line and you're going someplace and you have a vision and you stay with it, eventually things will happen.
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.
Women have always had equal importance onstage, and working with them must have altered my sensibilities. I've never felt sensitive to the whole issue, because being macho has never been a problem with me.
I haven't encouraged [Julia Marie Pacino] or discouraged her. I let her go her own way. I did say to her that I thought that she had a real gift, and it's a good idea to know that. It's always good to go with your gift.
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 had these little babies [my twins] and it gave me something so spectacular, such a feeling - I was so turned on and so excited by them that I wrote a poem. I had it on scraps of paper and the maid threw it out.
I don’t understand the hatred and fear of gays and bisexuals and lesbians… it’s a concept I honestly cannot grasp. To me, it’s not who you love… a man, a woman, what have you… it’s the fact that you love. That is all that truly matters.