At this point in my career, I don't have to deal with audition rejections. So I get my rejection from other things. My children can make me feel rejected. They can humble you pretty quick.
We were doing Scarface many years ago...and I remember having my coffee and looking at the beach, the surf, and I saw a hundred people looking out into the ocean. I thought, what's going on? Did some whale get washed up to shore? So I stood up on the table to see what it was, and it was the director, Brian De Palma, standing there alone by the surf and they were all waiting for him. And I never forgot that because it represented to me what a director is, what a director does.
In America most everybody who's Italian is half Italian. Except me. I'm all Italian. I'm mostly Sicilian, and I have a little bit of Neapolitan in me. You get your full dose with 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.
When you do these things, you sort of take the journey. The journey is all about how I can interweave the Oscar Wilde story, the story of Salome, the play itself and what it is, what it contains, and my journey as an actor, as a director, as a filmmaker, as a person struggling with whatever I'm struggling with - my own celebrity, my own life. This is semi-autobiographical in terms of my commitment to this kind of thing.
Larry Grobel has the illness of all writers, he can't help himself. You're talking to him and all of a sudden, you say, "He's puttin' that in his cash register!"
Any project that I find encouraging that isn't attached to a studio, I can go to them, which I definitely would. You have to take an interest in what you do.