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.
[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.
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.
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 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.
I don't think actors should ever expect to get a role, because the disappointment is too great. You've got to think of things as an opportunity. An audition's an opportunity to have an audience.
I would say I am more concerned with the plays I'm going to do than the movies. I'm more comfortable in a play. In film, there's always a certain sense of control, of holding back. The stage is different ; there's more to act. There are more demands put on you, more experiences to go through.
[Ocean's Thirteen] is a great group, and it was an opportunity to work with Steven Soderbergh. But mainly? It was shot in L.A. and I want to be next to my kids. So I've been doing everything that has to do with being next to them, close to them.
"To be or not to be is" [by William Shakespeare] beyond anything I can comprehend. I understand it on a superficial level, but the depth of it just boggles my mind. I think it's probably the greatest of all speeches ever written.